Graphic designer-client relationships ─

case study

Pro Gradu Thesis

University of Lapland

Faculty of Art and Design

Department of Graphic Design

Autumn 2010

Zinaida Galkina

0235888

University of Lapland, Faculty of Art and Design

Name: Graphic designer-client relationships ─ case study

Author: Zinaida Galkina

Programme: Graphic Design

Type: Pro Gradu Thesis

Pages: 88

Year: 2010

Abstract: Graphic design is one of the elements of today’s environment. It communicates

meanings, identifies things, navigates people, and imparts knowledge in physical visible forms. We can see it everywhere: in the street signs, books, newspapers, packages, labels, clothes, billboards, etc. Since ideas and messages find their visual appearance in printed, published, or other visual forms, this means there are clients that order these design projects and designers that make them a reality. Since there are many examples of great and poor design, this means creative cooperation may be effective and clear or mutual understanding may be missed. In this context, relationships between the graphic designer and a client become the main topic of this research. This work aims to discover the reasons of spoiling of relations and offer practical guidelines that help graphic designers and their clients to improve their business cooperation.

In order to reach the main goal, this study describes the idea of the graphic designer and a client. Graphic designer is a mediator of ideas between producer and consumer and creator of experiences that can change behavior of individuals. In this context, designer’s social responsibilities, inner culture, education, career opportunities, and professional growth stay in the focus of this research. Since design is a result of designer’s activity, designer is responsible for success or failure of the project. However, client acts as equal in rights participant of the design process. This research presents a client from the position on corporate ladder and level of familiarization with design.

The existing literature on the current topic describes disrespect, lack of responsibility, unethical behavior, stereotypes, and lack of clarity as the main reasons of spoiling of relationships between the graphic designer and a client. Two practical cases prove theoretical findings and outline possible solutions to improve these relations. Results provided by the cases become a basis for further research and conclusions.

This study concludes with general guidelines that help graphic designers and their clients to speak clear language and provide effective design. Practical solutions suggest respect, ethical behavior, honesty, flexibility, overcoming stereotypes, individual approach to a client, and thinking several steps forward as core elements of profitable and fruitful cooperation. Also, they suggest concept of socially responsible design, payment strategies, and techniques to keep clients coming back and adapt to existing business conditions.

Keywords: graphic designer, client, relations, ethical behavior.

Additional information:

I agree to have the work used in the University library __ yes

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Table of contents

1. Introduction .......................................................................................................................... 1 1.1 Research question and structure ....................................................................................... 2

1.2 Motivation ........................................................................................................................ 3

2. Research materials and Methodology ................................................................................ 5

3. Who is the graphic designer? .............................................................................................. 6 3.1 Graphic designer − values behind profession................................................................... 6

3.2 Responsibilities of the graphic designer........................................................................... 8

3.3 Attitude and inside culture of the graphic designer........................................................ 10

3.4 Instruments of the graphic designer................................................................................ 12

3.5 Education of the graphic designer .................................................................................. 15

3.6 Career opportunities of the graphic designer.................................................................. 19

3.6.1 The two types of design practice ............................................................................. 20

4. Who is the client?................................................................................................................ 23 4.1 Business owner ............................................................................................................... 24

4.2 Creative director ............................................................................................................. 26

4.3 Department manager ...................................................................................................... 27

4.4 Staff level professional ................................................................................................... 29

4.5 Educated client ............................................................................................................... 31

5. Reasons of disorder in relations between the graphic designer and a client ................ 35 5.1 No respect ....................................................................................................................... 35

5.2 Lack of responsibility and unethical behavior................................................................ 37

5.3 Stereotypes ..................................................................................................................... 38

5.4 Lack of clarity................................................................................................................. 40

6. Practical cases ..................................................................................................................... 44

6.1 Interview with studio owner and his client (case 1) ....................................................... 44

6.1.1 Interview with Designer 1 ....................................................................................... 45

6.1.2 Interview with Client 1 ............................................................................................ 46

6.1.3 Analysis ................................................................................................................... 48

6.1.4 Results ..................................................................................................................... 50

6.2 Interview with in-house designer and her client (case 2) ............................................... 51

6.2.1 Interview with Designer 2 ....................................................................................... 52

6.2.2 Interview with Client 2 ............................................................................................ 54

6.2.3 Analysis ................................................................................................................... 58

6.2.4 Results ..................................................................................................................... 59

7. Possible ways to improve relations between the graphic designer and a client............ 61 7.1 More respect ................................................................................................................... 61

7.2 Socially responsible design ............................................................................................ 64

7.3 Overcoming stereotypes ................................................................................................. 65

7.4 More information............................................................................................................ 66

7.5 More clarity, credibility, and flexibility ......................................................................... 71

7.6 Payment strategies .......................................................................................................... 72

7.7 Keeping clients coming back and getting new clients.................................................... 74

7.8 Adaptation and compromise........................................................................................... 78

Conclusion ............................................................................................................................... 80

List of Reference ..................................................................................................................... 81

Appendicies ............................................................................................................................. 85 Appendix 1. Interview questionnaire for the client. ............................................................. 85

Appendix 2. Interview questionnaire for the graphic designer. ........................................... 87

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1. Introduction

Today, we live in a visually oriented society and graphic design affects almost every

aspect of modern life. For example, mass production, industry, commerce, culture, politics,

education, and others. (Starck 2007) Magazines’ covers, packages, labels, light-boxes, posters,

leaflets, brochures or web-pages carry visual message to the person. Being a powerful

communicational instrument, graphic design gives a possibility to control individual choice

and behavior. In a commercial context, design can influence profit. Companies may consider

design to be a part of their marketing strategy, and since success strongly depends on visual

communication, design projects should be undertaken by really qualified professionals. For

that reason, the field requires designers who understand the need to affect society and culture

in ways that are constructive and positive.

However, graphic design is applied not only in commerce. In culture, politics, education,

and in other social areas, it has a potential for improving the quality of life, peoples beliefs,

and personal attitude to processes in their local environment. Design strives to provide a better

use of culture itself, helping people to better realize their needs, perspectives, and social power

as groups and individuals. In this context, design acts as communication between social goals,

methods of impact, technologies, and consumers. Therefore, social fields expect that the

designer clearly interprets ideas into visual forms and presents them to consumers effectively.

In a rapidly changing environment, clients become more demanding of effective design.

The sophistication among people, who are responsible for cooperation with designers, rises

because they work more and more in one team with designers (Guest 2008). Their joint

projects may include web-design, package design, logo design, multimedia design, exhibition

design, typography services and others. It would seem, the more they cooperate the better they

understand each other and the better the result. However, the client may finally receive an

unexpected result. Or design does not work, even if it corresponds to the aesthetical,

functional, and constructional requirements. There are many reasons of ‘bad’ design as well as

factors that adversely affect the relationship between the graphic designer and client.

In this context, an issue of the relationship between the client (who orders the design

project) and the designer (who makes the project a reality) becomes a relevant topic for this

research. The aim of this thesis is to discover the reasons of ‘discord’ in graphic designer-

client relations and find appropriate solutions to improve them. Therefore, the following work

extends the existing knowledge regarding the relationship between the graphic designer and

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client. It draws on the stages of communications between the designer and customer, the

causes of disorder in these interplay, and the reasons of misunderstandings. By analyzing the

cases, this research discovers the ways to gain mutual understanding in a joint work between

the graphic designer and customer. This work concludes by suggesting practical advice and

perspectives to run a successful design product.

1.1 Research question and structure The main question of this research is how the relationship between the graphic designer

and client can be improved. In order to answer this question, my study intends to describe the

responsibility of the graphic designer and client, discover problems in joint conduct within the

design project, and reveal reasons of dissension. Comprehension of these topics and analysis

of cases provide practical solutions that help to improve relations between the graphic

designer and client.

The study is divided into several chapters. Chapter 2 presents the research materials and

methods that inform this study. The portrait of a graphic designer features in the focus of my

research in Chapter 3. It draws on the designer’s social responsibility, attitude to work,

educational background, working conditions, and career opportunities. This chapter discovers

two types of designers: permanently contracted designer that works for one single company

and the designer that runs their own business − the free-lancer and studio owner. Chapter 4

introduces the image of the client and becomes no less significant in my study. It explores

different types of clients, according their position on corporate ladder. In Chapter 5, graphic

designer and client meet in joint design process. This chapter aims to clearly recognize what

problems both participants face during their work and what specific reasons prevent either to

reach mutual understanding in their collaboration.

To illustrate and test the conclusions from Chapter 5, this research conducts two case

studies. The first one represents an interview with a design studio owner and his client; the

second one is an interview with an in-house designer and his client. The analysis of theoretical

findings and practical cases helps to support a better understanding of the problem and acts as

a foundation for conclusion of my thesis. To complete the body of this research, Chapter 7

offers practical solutions that help to improve graphic designer/client relations. Based on the

conclusions made in previous chapters, it presents a framework that can help to avoid

misunderstandings and find mutual understanding in relations between the customer and

designer.

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1.2 Motivation The motivation for this research is based on several facets. I have more than 7 years of

working experience as a hired graphic designer in the advertising departments of trade

companies and as a free-lancer. In my experience, I have faced with many situations of

success and failure of design projects. Based on this experience, I try to create my personal

strategies that help to deliver better design solution and work effectively with the client.

However, problems in relations between both designer and customer require deeper

comprehension. For that reason, it has become the topic for my research.

Parallel to that, numerous designers can tell dreadful stories about a barrier in their

communication with clients “who have treated them like second-rate suppliers or worse”

(Giffen 2004, 22). Designers complain that clients reject their design and ask to do something

which would look awful. These designers consider that clients are given a huge responsibility

of approving solutions of a discipline they are not that familiar with (Browne 2003). Usually,

designers work closely with someone from the company’s marketing department or the owner

in most ‘one-man-show’ companies. These clients might imagine only faintly what design

they need, how much design work they require, and what final project they expect to achieve

(Browne 2003). This means clients may not know what is communication function, aesthetical

role, and ethical impact of design. Actually, clients need not have a clear understanding.

However, the client is a full member of the creative process and controls the accomplishment

of work (Browne 2003). Moreover, client is a person that pays a bill. Usually, this argument

acts as determinative factor in most conflicts. Obviously, without demand there is no supply;

without clients, who have the design need, there is no graphic design and therefore designers

(Shaughnessy 2005, 104). Yet, this does not add clarity in relations. Therefore, all of the

above explains my interest to lucidity in a graphic designer’s relationship with a client. The

intention of my research is to reduce contradictions in designer/client relations and improve

the quality of graphic design products.

Ultimately, the goals of both client and graphic designer overlap in order to produce

piece of work that is effective in reaching the client’s aims. I agree with the statement that

tells that both “designer and client are locked into a marriage that, like a real marriage, has to

be an equal partnership if it is to last and produce any worthwhile offspring” (Shaughnessy

2005, 104). They need to establish a relationship based on mutual respect and understanding

that the clients are the expert in their industry, and designer are the experts in theirs. From my

perspective as a graphic designer, I want to work out appropriate techniques that will help to

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effectively meet project goals and provide the best product outcome. With this research, I

want to contribute my own findings to this study, as well as to stimulate designer/client

collaboration for fruitful cooperative results.

One more reason that induces me to this research is that my Bachelor’s degree

programme at Saint-Petersburg State University (Saint-Petersburg, Russia) and Master’s

degree programme at University of Lapland (Rovaniemi, Finland), do not include courses that

teach how to establish relationships with the customer. Gorb (1987, 107) says that “designers

have always had an uneasy working relationship with the management world, and nothing in

their education and training makes it easy for them to do so”. This quotation shows that

students are not really ‘taught’ how work with client. They go deep into the study of visual

communications, typography, theory of color, laws of composition, etc. They participate in

workshops aimed at solution for concrete tasks and practical skills’ improvement. However,

communications with the client is not directly related to design. It belongs to other disciplines:

sociology, psychology, ethics, management, and marketing that do not have straight concern

to graphic design. For that reason, these issues receded into the background.

Nevertheless, there is a noticeable need for graphic designers to be well educated and be

ready for efficient communications and performance of tasks. In this case, theoretical

knowledge and practical skills given at school can not be underestimated. However, most

designers get real education at the work place by ‘cut and try’ method. Their clients act as

their teachers. Every new client is unique and challenges designer to establish new particular

relations again (Shaughnessy 2009, 19). We all study again by our personal experience, and

under no circumstances I consider my work to be a ‘guide of law’ for designers. However, this

paper suggests a framework for further discussion and research into client/graphic designer

relationships.

To fulfill my motivation with more argument, I want to present the quotation: “I love

clients, even bad ones” (Shaughnessy 2005, 104). Agreeing with Adrian Shaughnessy’s

statement, I prefer to work with ‘hard’ clients because it stimulates me as graphic designer for

further development in my profession.

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2. Research materials and Methodology

In order to reach the goals of this work, I use several ways of analysis. First one is

literature review. Books offer insights into the term of designer from commercial, social,

political, cultural, and creative viewpoint. They present different opinions and argumentations

on the designer’s role in society, in design process, and in creation of environments. Books

offer more structured knowledge on the topic. Articles from magazines and electronic journals

present more emotional and fresh discussions, concepts, and reasoning. Mentioned sources

have helped me to reveal reasons of misunderstandings in relations between a graphic

designer and client. Special significance of my research is taken on the ethical side of

designer/client relations, because ethics is a core element of success in any relations.

Though there are many opinions and discussions on designer/client relations, there are

not many literature sources that help to describe the client. In this case, I comprehended the

idea of the client from her position on a corporate ladder and level of familiarization with

design.

Theoretical data provide a firm basis for the second stage of my research. To prove

theoretical argumentations by real life evidences, I continued empirical research with two

practical cases. Since the theoretical part of my research describes two types of designer, –

own employed designer and in-house designer – two case studies are relatively chosen as

strategy. The first case presents relations between a graphic designer that runs their own studio

‘Numedia’, and from his client ‘Satamaoperaattorit’. The second case illustrates relations

between an in-house designer and departmental manager, that both work on behalf of one

company ‘Kemppi Oy’. The method of interview is chosen to collect different opinions and

compare different design practices. Therefore, the two cases show the graphic designer-client

relationship from two sides and provide main conclusions for the study.

Studying at a Finnish university and working as a graphic designer at a Finnish company,

I do my research in the context of this country. Case studies present Finnish designers and

clients, Thus, Finnish environment is an integral attribute of this research.

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3. Who is the graphic designer?

In order to understand better the relations between the graphic designer and client, first,

one needs to understand counterparts. This chapter aims to describe the graphic designer from

the angle of her responsibilities, attitude to work, instruments for creative implementation,

educational background, and professional skills. To offer a wider opinion, this chapter

includes discourse about possibilities of job placement, working conditions, and career

opportunities of the graphic designer. Also, emphasis is made on ethical side of designer’s

behavior. Keeping a look-out according above mentioned characteristics, this chapter

constructs the portrait of nowadays graphic designer for the further research of this study.

3.1 Graphic designer − values behind profession Nowadays, design is a significant part of society because it is applied to almost every

side of our environment. It concerns art and architecture, philosophy and ethics, literature and

language, science and politics and performance (Helfand, online). Moreover, design intersects

with commerce and marketing. Under conditions of hard competition, besides practical and

functional value, product has distinctive representational value (Bierut 1999, 106). In this

case, design acts as symbolical and emotional communication between producer and

consumer. Additionally, design has psychological importance because it empowers people to

express themselves (their taste, experience, knowledge, status, etc.) through the things they

consume (Salmon 2001, 1−8). Thus, design has a very exclusive merit, to influence the

consumer’s choice.

However, graphic design is significant not only for economy and business. It is a strong

‘cultural force’ and instrument of social impact in non-commercial areas. For example, in

politics it affects people’s actions and shapes social beliefs, in signage systems it navigates

people, in education it aims to improve teaching and learning presentation (Bennett 2006,

10−28). Therefore, design provides visual communication that may change social behavior of

audience.

Since the graphic design establishes visual communication, designer acts as a creator of

meaningful interaction and contributor of ideas that correspond and anticipate the

requirements of society (Ilhan 2009). In connection with advertising and marketing, this

requires strong feeling about the customer requirements to improve sales. In non-commerce,

graphic design serves to express ideas and convey message in order to make people change

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their opinion or behavior. This means strong feeling of present social behavior and prediction

of its future changes (Ilhan 2009). Thus, graphic designer is an exact person, who makes a

reality of public expectations by personal creative expression. It implies a variety of specific

creative and practical considerations and adherence not to personal preferences, but rather to

social demands. Coupling of creative activity and its adaptation to social needs identifies

graphic design as a profession.

Speaking visual language, graphic designer establishes interaction and influences

individual choice and cultural experience. By transforming and attributing present values to

new subjects, designer induces new beliefs to audience (Bennett 2006, 28−30). Designer

persuades the audience to act and sends social impulse through communication by displaying

values (Bennett 2006, 36−55). In this context, clear and active dialogue with audience and

understanding of social experience has as much significance as aesthetics. Ability to establish

proper visual communication becomes essential for designer. The role of graphic designer can

be defined as ‘graphic communicator’, ‘media consultant’, and ‘communications designer’.

Since graphic designer communicates public values and tastes, she may seem to be put

under pressure because personal artistic vision may run counter to social standards (Bennett

2006, 30; Bierut 1999, 106). Indeed, profession demands to realize neatly what will please the

audience and what is right for the time. But if designer’s vision narrows by following the

commonplace model and justification of routine there is no success. (Giffen 2004, 27; Salmon

2001, 6) Thus, remaining free from prejudices and stereotypes is the main social goal of

designer.

Outstanding from prejudices means fresh approach and open-minded vision. It concerns

with staunch designer that looks beyond own borders and takes advantages from new

challenges (Bennett 2006, 14−26). It is much to tell about professional intuition supported by

theoretical research that strengthens solutions. (Bierut 1999, 106−108; Giffen 2004, 27)

Guided by intuition maintained by knowledge and personal ‘ability to think out from the box’

designer can influence public opinion and stimulate for changes (Burket 2009, 28). Therefore,

designer becomes socially proactive.

Utterance that “graphic designers have always been problem solvers” strengthens the

importance of graphic designer’s social role (Giffen, 2004: 26). This means that designers are

no longer designers. Using their larger view on behavior and motivation, designers enter into

problem-solving process and help to navigate people needs through visual communication

(Giffen 2004, 26−27). Exactly, strategic thinking distinguishes designer from decorator or

publisher and defines competence in profession.

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3.2 Responsibilities of the graphic designer Ability of design to change individual behavior and to influence public opinion

determines the significance of graphic design as profession and attracts a lot of gifted and

imaginative specialists. However, graphic design means not only approval by audience and

possibilities for growth, but also responsibilities and understanding of duties (Bierut 1999,

156−159). Neglect of own responsibilities means illiteracy in profession, which may result in

vulgar, unethical, and ignorant design (Brown 2002, online). Also, it becomes a reason of

misunderstandings between the graphic designer and client. For that reason, this section is

important for my research. Inherently, this issue might be appreciated as utopian. To make it

less idealized, the verb ‘should’ is used instead of ‘must’. Eventually, concerning design

profession every ‘must’ doesn’t carry the weight and could be easily contested.

As design is a product of the designer’s work, designer’s duty is to bear responsibilities

of design. Following the proactive position and being proud of profession, designer should

realize the gravity of her role. Nevertheless, designer is not the only person that maintains,

evaluates, shapes, and studies the reality. Environment within its context (e.g. economy,

culture, policy, society, etc.) is the result of historical cooperation of individuals and

institutions (Brown 2002, online). For that reason, designer should effectively grasp the

dependence upon others. This means respect to other opinion (client, in particular), openness

to changes or flexibility, modest behavior, and honest attitude to work (Bennett 2006, 28).

Thus, ethical aspect of responsibilities becomes crucial for designer’s interplay with society.

Designer should define the principles of life towards other people, environment, future, and

life of following generations.

For example, problem of overproduction directly concerns designer and the graphic

designer in particular. In a wasteful age, the problem of bloated consumption and satiety of

goods is a part of globe trend. Overproduction leads to problems of utilization of useless

goods, to environmental deterioration, and disappearance of natural resources (Busch A. 2007,

22). In this context, designer’s responsibility is to design less thinking more (Hardt 2009,

online). Being a ‘problem solver’, using ability of multifaceted thinking, designer should offer

solutions to reduce consumption without reducing the standard of living (Bierut 1999, 160).

This is a manifestation of social responsibility towards other and important contribution to

economy and social needs of future period.

Before making design decisions, designer should honestly answer questions: Do we

really need it? Can we live without it? Can we reconstruct or rebuild another product not to

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produce a new one? Is this product designed to be multifunctional and long? (Busch A. 2007,

23; Hardt 2009, online) Acuteness of problem consists not only of redesigning present

systems of products and services, but also of creating new thoughtful, conscious, sustainable,

and simple environment. Social and economic change starts by doing small things in a larger

issue (Busch 2008a). Balanced combination of resourcefulness, innovation and responsibility

towards society is an effective tool at designer’s hand (Szenasy 2009, 16). It builds

environment based on immaterial values of honesty, frankness, thrift, and ability to do more

by using less.

The above mentioned reflection of overconsumption and overproduction is just one

illustration of how design can modify the system of people’s attitude. This example presents

design applied to production. But there are different aspects that graphic design can influence:

quitting smoking, reduction of amount of abortion, giving money for charity, drinking more

milk, reading more books, etc. (Bennett 2006, 31). Quality of design is determined by changes

it makes in social consciousness (Gerber 2008, 31−33). In this case, ethics becomes critical.

Designer’s ability to act ethically determines what kind of changes may happen in behavior of

target group after communication.

Argumentation about ethical and moral qualities may seem uncertain. It also arise the

opposite supposition that actually nobody wants to be unethical (Dudley 2000, 143).

However, not everyone understands what does it really mean − being ethical. Saying briefly,

concerning human being one should be true to oneself. Concerning graphic design that has

existed a long time without the trend of ethical design, one should be true to the craft and to

the baseline of profession (Dudley 2000, 143). Ethical attitude is a part of design thinking that

has far-reaching consequences for design industry in general. Therefore, the graphic designer

should communicate the ideas they are given in as ethical and effective way as possible

(Dudley 2000, 146). Focusing on the content of message to society, ethical designer asks

personal questions ‘Do I believe or do I agree with the content?’ and ‘Does the message

manifest ‘unethical’ signs?’ In this context, the role of the graphic designer becomes a

defender of moral principles.

This research emphasizes designers’ aspire to honesty, moderateness of views, and

objectivity in work. According to their ‘problem solving’ role they also act as scientists,

engineers, teachers, and doctors. Being active participants of industry, production, society, and

culture, designers should know what kind of solutions they can offer for public; particularly,

nobody knows it better than they do (Gerber 2008, 33; Liechty 2006, online). Moreover, being

creators, they should be proud as professionals that they do change the world and do it for the

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better (Busch 2008a). This positive and proactive credo develops designer’s personal attitude

described in the next section.

3.3 Attitude and inside culture of the graphic designer The previous part of this chapter coherently conducts to a question of expectations and

orientations that designer brings to design project. The key goal of this section is to discover

designer’s attitude and inside culture as an individual and as a part of social. This part of

literature review suggests stimulating of emotional revaluation about designer’s functions and

will make clear the essence of designer’s role.

Designer operates with different objectives and meanings in order to achieve correlation

between contents, representation, and functional values (Wasserman 2007, 8). This means not

only having ideas, but also creative embodiment of concept in strict time limitations. Design

thinking should drive solutions. In context of graphic design, solutions have physical

incarnation in digital or material form (Michlewski 2008, 380). First, designer always gets

insight of the problem, observes previous experience from the perspective of new task, and

searches for appropriate concepts (Michlewski 2008, 380). Then, concepts find their tangible

form as notes or sketches. The act of embodiment is a key moment in design process because

then all immaterial meanings interflow to gain physical form. The level of professionalism

depends on how quick and precise designer can pick up appropriate concepts, select out

peculiar ideas, and direct them into creative process (Michlewski 2008, 380).

In context of design attitude, creativity emphasizes designer’s aspiration to produce the

best solution that unites all functional, aesthetical, and ethical meanings, and meets client’s

requirements. Inherently, the act of embodiment is a very risky process because designer

never has predetermined plan (Michlewski 2008, 380). Designer mostly applies previous

experience for the new task by following intuition and by experimenting with visual forms.

Even experienced designer may be stuck with the project. This attitude is connected to

uncomfortable feeling of accepting a risk to lose control over the project development

(Michlewski 2008, 380). However, it may become a stimulus for fruitful work. Thus,

readiness for challenge and risk is one of distinctive characteristics of design attitude.

The risk of receiving unexpected result may be one of the reasons of creative crisis.

Absence of ready plan may hold in place when designer can not choose the start point for

prototyping. On the other hand, accepting of risk may become the main factor for urging

forward nonstandard solution (Nussbaum 2004, 89). Designers’ state of mind is not always

logical; they can think in a completely different way and get a different result instead of a

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traditional answer (Michlewski 2008, 381). The design attitude differs from that of others by

willingness to use a chance for innovation by saying ‘Why not? Let’s do it!’ In this respect,

ambiguity and improvisation also act as constituents of design attitude.

However, designer may be deeply plunged into looking for the best creative result by

trying new and new solutions, amending, tweaking, and polishing (Weick 2004, 43). Hence,

the feeling of dissatisfaction has become a personal trait of graphic designer. It appears and

grows because graphic design never has one answer to a question. On one hand, striving for

perfection forces designers to produce better quality work and helps them to feel more

confident when showing the visual to the client (Michlewski 2008, 381). But on the other

hand, endless amending leads even good design to death. Endless scrutinizing of small things

or rethinking the concept leads to discontinuity and kills design. Therefore, designer should

trust her competence and feel the moment to leave design while it is still fresh. The ability to

find balance between doubts and passions concerning concrete task presents one more aspect

of design attitude.

Interacting with the environment, designer uses personal aesthetic sense and judgment

adapting it to people’s needs. Designer’s aim is to create ideas and capture them into simple

visual form. This aim demands visual thinking that develops through drawing and making

visual products. In this perspective, “visual discourse within yourself” also presents design

attitude (Michlewski 2008, 382). Therefore, the category of unconscious perception is deeply

integrated into designer’s way of thinking (Michlewski 2008, 382).

Also, designer works in close cooperation with people from areas that are not related to

design. This means that with every new project, designer accommodates the views of audience

and learns to develop the project from end-user perspective (Bierut 1999, 97). Designer’s

attitude is formed by exceptional ability to deal with concepts, qualities, processes, ideas and

their interrelations (Michlewski 2008, 384) Thus, personal empathy interlaces with aim to

inculcate emotional reactions into design project.

Emotional endow into a product becomes one of the main objectives of designers

because it includes new unique experiences, processes, entertainment forms, and ways of

communicating with end-user. Reaching customer’s hidden needs, designer fills up the

product with individual meanings and provides the open dialogue with the end-user (Brown

2009b, 62; Chitturi 2009, 7). From the design attitude perspective, human-centered approach

demands a shift from design ‘doing’ to design ‘thinking’ that joins together the emotional and

the rational (Michlewski 2008, 384).

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Designer makes personal emotional contribution into the product by collecting meanings

and their responses that are preformed visually. During creative process, designer strives for

new original solution that should be better than previous one (Michlewski 2008, 384). There is

a strong aspiration to suggest something aesthetically different and practically considerate.

Designer’s nature uncovers inner belief to do things better, extend present boundaries, and

change existing rules (Michlewski 2008, 385). Designer’s culture and attitude signify the

readiness for challenges, wish for investigation, and following uncertain inner guidance while

keeping the general vision as a subconscious measure for the project’s success.

This section uncovers designer’s inner culture through the observance of design process.

However, to comprehend deeper designer’s nature, this chapter should also answer the

question ‘How does designer operate with these meanings and ideas?’ The next part of this

chapter suggests a closer view at designer’s tools and instruments.

3.4 Instruments of the graphic designer The usage of tools, instruments, and techniques depends on specific product that

designer creates (Tassi 2009, online). Graphic designers create the graphics primarily for

published, printed or electronic media. They are also responsible for typesetting, illustration,

user interfaces, and web design, or take a teaching position, although these specialties may be

assigned to specialists in various graphic design occupations. A core responsibility of the

designer’s job is to present information in accessible and memorable way. The number of

instruments, the ability to use them adequately, the balance between technology and

representation depend on designer’s experience, professional literacy, and intuition (Tassi

2009, online). This part of my research displays a collection of tools used in design. The tools

are divided into parts according to the design activity they are used for, the kind of

representation they produce, the recipients they are addressed to, and the contents of the

project that they convey.

Looking closer at the design process, there are several communication tools that become

keys for success. A fruitful collaboration or co-designing is one of them. Since design product

is a result of joint work, client, user, or other figure can make personal contribution to the

process. In order to use this off-site experience as an appropriate tool, participants should

correspond to the aims of a product. Also, designer should find the means to engage with team

members and provide them with ways to communicate and share their own ideas (Bartzke

2009). There are different levels of participation in co-designing, from attraction of the

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external figures just in specific moments to situations when the product or service is built up

by joint group from A to Z (Tassi 2009, online). In any case, collecting expressed ideas and

filtering the best of them remains the main challenge for designer.

Envisioning is one more design tool used to represent the concept of future product. It

outlines the imaginative preview of design solution and makes its features more distinct by

translating ideas into visual expositions (Tassi 2009, online). Making ideas visible allows

people to explain, share, and understand what is in their minds. The main difficulty in

envisioning process is communicating inner immaterial components of thinking and

representation technique or language (Tassi 2009, online). Every new project is a new visual

environment; it requires a different approach to the creation of visual elements. It demands

new modes of visual sensitivity and interrelation with other fields of knowledge (Meirelles

2005, 100−103).

Another efficient technique in design process is prototyping that helps to experience

some features of design in order to improve it. This is an additional tool to visualize and refine

designs. Prototyping is a quick and cheap method for testing and correcting goals and

functions of the project before getting to the further expensive development (Brown 2009a,

198−201). It is a less risky approach to test the design before significant investment has been

made. It might not include technological infrastructure, clear terms and conditions, but it

offers the vision of the concept and often answers the questions: ‘Does it do what users expect

and want?’, ‘Does it work like it is expected to work?’, and ‘Does it look like it is expected to

look?’ (Tassi 2009, online). Finally, using the technique of prototyping, designer concentrates

more on the needs, expectations and capabilities of the user. It guides designer to user-

centered design solutions.

Effective prototyping and testing leads design into a working service. The product is

developed step by step and communicated attentively in order to be built effectively and to

become ready for using. Implementation is a critical tool of design process as it includes work

on the details, full-length analysis of each element, and preparation for delivering (Tassi 2009,

online). The end product is a final tangible stage of long process. Any way, even after

completion when product is ready critics and remarks should not be neglected.

The stages of design process illustrate methods and tools according design activity and

project development. From the point of representation each designer has personal kit of

techniques and instruments, which identify designer and complete her own style of

expression. Designers have at their hand different tools for representation: texts, graphs,

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narratives, models, tables. Object’s basic attributes − shape, scale, orientation, position, tone,

color, and texture − are also the subject of designer’s experiments.

To approach the topic of design tools and instruments, this section also presents

recipients. A recipient is a person that has a legitimate interest in a project or entity. One of

distinctive feature of design at the ‘professional’ level is that decisions are made by those,

who hold potentially significant consequences for individuals (Tassi 2009, online). For that

reason, consultation and analysis made by these members may construct a system of different

views on one problem (Tassi 2009, online). In reality, the results of consultative outcome may

be often naïve, superficial, and descriptive (Doherty 2009, 115). Nevertheless, it helps to bring

order to the further design process and can be used as an instrument for ethical conduct.

Members of a joint work are often become recipients of the product. They can be divided into

the following categories: stakeholders, professionals, service staff, and users.

An approximate list of stakeholders may include one or several participants: employees,

communities, shareholders, investors, government, suppliers, labor unions, government

regulatory agencies, industry trade group, professional associates, competitors, public

communities, local communities (Tassi 2009, online). Stakeholder analysis can be used as a

tool to compose a true picture of the focus groups with their social interactions which might

be affected by design intervention (Doherty 2009, 115−116). Also, analysis can be used as a

consulting tool that provides designers with the necessary responses from target groups and

confirms an apparent relevancy of constructed schemes (Doherty 2009, 116). The knowledge

of expert figures is required for successful development of the service idea and can be used as

another tool at designer’s hand. Professionals of broad spectrum (marketing, branding,

analytics, technology, social sciences, etc.) can be involved in the process from the very

beginning or at particular moment. Service staff includes people that are responsible for the

final delivery of service or product. It consists of operators that directly interact with users and

those, who produce information and needed technical support. The user is the most important

recipient that experiences provided product. Therefore, the feedback from user is one more

communication tool for designer.

Deeper comprehension of presented problem itself can evolve additional communication

tools that serve to designer. Immersing in contents helps to understand the context which

product or service belongs to. Exploring and defining the context means acquiring of project

supporting points and specific environment where it takes place (Tassi 2009, online). This

method helps to set the project limitations and to extend its opportunities.

15

Going deeper in interaction process between user and concrete product, service, or

activity, and studying of its specific character gives a platform for theoretical considerations.

It develops empirical research that finally creates new knowledge. Such basis becomes critical

in graphic design because visual communication has become more and more powerful

instrument of economical, cultural, and social impact (Bennett 2006, 158). Communication

research brings together real facts and designer’s intuition. Moreover, it helps to test concepts

on the stage of their development and to guess consumer’s response beforehand. (Bennett

2006, 159−160) Hence, theoretical research is an appropriate tool to structure the content of

design problem, to systemize creative thinking, and to produce solution that corresponds to

client’s needs and consumer’s expectations.

Based on description of instruments and tools this section delineates the portrait of

graphic designer more precisely. Representation tools, analytical methods, and

communication techniques that support design process are integral elements of design

practice. These experiences as well as creative skills can be obtained while learning. The next

part of this chapter aims to illuminate the field of education of graphic designer.

3.5 Education of the graphic designer Being a communicator, link, interpreter, and inspirer, the graphic designer stands at the

turn of meanings and ideas, uniting them in design product. This unique role demands

technical knowledge and skills. Moreover, a designer needs to see every possible option and

solution to presented task (Weeks 2004, 76). Natural talent of multifaceted vision is a big

advantage. However, to become a professional it needs to be trained. This part of my research

touches upon the questions of becoming a designer. What is it that makes someone a

designer? Is academic degree a guarantee for ‘good’ designer when there are many self-taught

designers? Does ‘academisation’ deviate design from natural development? (Weeks 2004, 76)

In context of relations with the client, this section also discovers the problem of gap between

education and real design practice. I suggest this part of my research as one more stroke that

fulfils the portrait of graphic designer.

To answer the question ‘What makes someone a designer?’, this section first reveals

skills demanded to start design education. The list of entrant criteria can vary in order of

importance: creativity, drawing skills, intelligence, aspiration for education, and literacy

(Dudley 2000, 8). Additional features might be placed into the list.

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Creativity is one the most significant criteria. However, it is an ephemeral notion that

can not be measured. It has no limits and it does not exist in itself. Creativity is like a talent

that does not carry weight without use. To get original solutions, it needs to be sharpened.

(Dudley 2000, 8−9) The only way to train creativity is to apply it to concrete task and to go

deeper into the subject area. Bringing to light natural talent by applying it to multitask is the

main goals of educational institutions. Another role of educators is to show every slice of the

design world (Vavetsi 2010, online). It is necessary to study design to have multifaceted

vision to a problem and to adjust this vision to design solutions. As any other field, design

process demands hard work involving rational thinking, intuition, re-combination of basic

elements into new prototypes (Salmon 2001, 14). Finally, creativity is only the starting point

for further investigation even if it acts as the most significant stimuli in educational process.

Creativity is suggested to be the main determination for potential designer. It has been

analyzed that high creativity is tied together with high intelligence and low intelligence rare

entails high creativity. Still, intelligence does not guarantee creativity. (Dudley 2000, 11)

Nevertheless, such essential constituents of intelligence as dexterity, keenness of wit, and

ability to learn quickly are key elements for potential designer. Indeed, analytical, practical,

and creative categories of intelligence are important for original response to real-life situations

that usually arise at work.

Drawing skills belong to that features that are evoked from natural inclination or that can

be trained. In any case, comprehension the environment through drawing is the basis of visual

literacy and the initial way for communicating visual ideas (Dudley 2000, 13). Sketches and

preliminary drafts effectively represent the concepts. Also, they provide a variety of means to

experience the environment and to express personal attitude to it (Dudley 2000, 14). It is a

language that designer applies to the message to speak to audience. However, drawing is just

one of instruments that potential designer should have in the set of strategies.

Besides visual language, communication with words is one of the most serious issues in

design as well as in other disciplines (Dudley 2000, 15). Language is the essential principle of

thinking. In design practice, it is necessary to communicate to colleagues, to clients, and to

technical specialists. Natural language is the step of working process when abstract concepts

have no physical embodiment. In this context, literacy is helps to define the problem, express

ideas to others clearly, and come closer to problem-solving (Dudley 2000, 15). Thus,

possession of public speaking and coherent writing using linguistic standards (spelling,

grammar, and punctuation) is the crucial element of designer’s literacy.

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All above mentioned features help to recognize potential designer. However, additional

characteristics may become significant in admission: computer skills, maturity, and

responsibility (Weeks 2004, 76). These skills can be trained during education. Yet, among

these characteristics one stays in priority − aspiration for education and keeping eyes opened

(Dudley 2000, 11). Aspiration for knowledge is born long before knocking the door of

educational institution. It grows from natural interest to the field, willingness to get into the

subject, desire to apply and to develop arising inclination towards designing (Weeks 2004,

76). This passion makes someone a designer. However, passion is not enough. To reach a

success one needs to have technical knowledge that becomes a tool for creative

implementation and experience that keeps balance between technical skills and passion

(Weeks 2004, 76). Therefore, combination of theoretical and practical knowledge helps to

achieve this balance.

One can argue that academic education in design is not very significant because the field

is strewed with those who are self-taught and self-education is the main part of development.

However, while making practical suggestions for current task, one is not be able to understand

design effectively until this task is placed within a general theory of design (Dudley 2000, 40).

Acquiring an education means accommodating with arranged design-specific theoretical and

practical skills and becoming cultured in taken decisions. Additionally, academic education

cultivates creative potential, ethical conscience, communication skills, and critical thinking.

(Caan 2005) Another important institution’s responsibility is to challenge, inspire, and support

students throughout their learning processes. Therefore, becoming a specialist requires the

possession of variety of skills and awareness of meaning of design profession.

Because design is an applied art and craft, does ‘academisation’ of design deviate it from

natural development? Reasoning from its definition, educational institution has much from

academism. Universities are obliged to evaluate, put the grade, and define the key skills that a

student should possess on graduating. Every course goes through testing and critics; than it is

standardized, named, or labeled. (Dudley 2000, 17) Strict regulation entails the conflict

between conservative system of education and revelation of innovative thoughts that requires

various methods of teaching. (Busch J. 2007, 12) Therefore, standardization, regulation, and

subjection influence upon organic development of design profession. Nevertheless, there is no

perfect environment to correspond with each requirement and potential designer should adapt

to teaching atmosphere as she should adapt to future working conditions.

Adaptation to real life after graduation can become a difficult process because of gap

between education and real design practice (Vavetsi 2010, online). In general, educational

18

path of design students is quite typical. During their studies, students are given no limits to be

creative with each assignment. Presented tasks aim to unlock their creative thinking. They

develop their own style of expression and they prepare themselves for career with boundless

opportunities for experiments. However, after graduation they may find themselves at trivial

putting together long text columns, bullets, charts, and stock photos that do not require

creativity and personal aesthetics (Vavetsi 2010, online). Students’ dreams and expectations

are not always fulfilled in the real world. In this context, the fault of educational institutions is

that they do not give a true picture of design practice (Caan 2005). Although, real design work

does not give much freedom for personal talent, it gives a sense of the purpose and the

satisfaction of being useful to society. Unfortunately, real life demands skills that usually are

not taught at school.

Academic system of teaching does not provide the ‘right’ combination of skills for

incoming designers (Busch 2008c, 158). Indeed, it gives necessary knowledge in aesthetics,

visual communication, drawing, design theory, photography, typography, identity systems,

etc. However, there is a lack of understanding how design is implicated within a world market

and how design needs vary for different socio-economic groups (Caan 2005). From the

collaboration view, students are not always integrated into effective communication (Helmer

1993). In the context of my research, this disadvantage becomes critical. Lack of appropriate

skills spoils relations of the graphic designer and client.

In fact, many graduates enter profession when they start their career (Milshtein 2007,

40). By this moment, they have already had a kit of strategies, techniques, and skills; they are

determined to apply their knowledge and talent to presented task. Nevertheless, continuing

education is an essential element of professional growth (Weeks 2006, 80). This means

keeping abreast what is going on in the profession and thinking beyond the borders of

solutions for routine problems. In addition to practical skills, this approach broadens

designer’s ability of thinking forward (Bennett 2006, 51−53). It cultivates a model of ethical

behavior that comes useful in real design practice after graduation.

The process of becoming a designer does not end with graduation and having a

certificate; also, being a designer does not mean to have a degree. Diploma is not a guarantee

that designer does not have failures and makes ‘good’ design. Designers enter the industry

armed with their degrees, possession of latest technology, and ambitions (Weeks 2004, 76).

But they still study with every new task trying to do next project better. In addition, new

materials, new processes, new software or technologies have to be learned. Consequently,

19

designer grows together with profession (Dierson 2006, 24). Career opportunities of the

graphic designer are described in the next part.

3.6 Career opportunities of the graphic designer The following section adds the list of elements that successful designers share and

potential employers expect from graduates. In order to complete the image of graphic

designer, this part describes two types of graphic designer: designer employed by a company

and self-employed designer.

In profession, life becomes ‘real’; learning is examined, tested and applied to practice. In

the world where everyone contests for a place under the sun, speed of reaction, shrewd mind,

communication skills, and ability of foreseeing are highly appreciated and influence the

success of business. However, some elements that contribute to success in design are hard to

measure, and one of them is commitment. Commitment is based on love and adherence to

profession. Obviously, the progress is more feasible when designer really loves what he/she

makes (Caan 2005). Moreover, joy of design-making gives many important psychological

rewards that can be measured by such non-material things as personal growth and self-

discovery. Commitment also means willingness to work toward a future goal by constant

training and willingness to stay in profession. This also means that a considerable period of

time may pass before designer is accomplished enough and career makes the pay off. (Salmon

2001, 12) Therefore, success takes a combination of time and hard work.

Hard work is one of the most important contributions to successful output. The idea

should be obvious for people from other professions, but it is very often neglected because of

stereotypes concerning creative persons (Salmon 2001, 13). Designers are usually thought of

as being spontaneous and undisciplined figures that creatively ‘play’ with ideas and concepts.

There is an unfortunate stereotype that designers spend their days “in a magically rarefied play

space, dreaming up ways to connect with other humans using imagination, wit, esthetic

nuance…” (Dolan 2008) Designer’s staying in studio, giving birth to visual ideas, doing

sketches, combining together colors, pictures, and texts is not considered to be a hard work.

And the dark side of design reality as sending off a heartily worked-out series of questions on

a pending project, explaining and proving to clients for the tenth time the concept of product,

summarizing opinions of team participants, conference calls, etc. is not taken into account

(Dolan 2008). But still, designers work hard for their success. Career requires readiness to

work long and hard to achieve professional objectives.

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Hard work also means finishing specified assignments within strict deadlines, busy

schedule, and having multiple projects at one time (Bierut 1999, 107). In this case, self

discipline becomes crucial personal feature for designer whether she runs own business or

work at a design company. For many designers, working at a company is easier because it

involves organizational structure and culture that is quite similar to an educational institution

and has been probably experienced already. Hence, it is understandable that working in

familiar and predictable environment feels comfortable for some people because it is

relatively safe and secure (Salmon 2001, 14). However, being incorporated with complex

structure, designer must obey business factors that control the work. Therefore, designer’s

work habits should correspond to requirements of the job.

For freelance designers and those, who run own studio, the situation is different but it

does not remain easier. At first glance, it may be seen as attractive situation. One may see the

picture of individuals that do not have supervisor standing over their shoulders. There is no

boss shaping daily activities and giving creative assignments. Certainly, for some people

being on their own is the best thing. (Salmon 2001, 15) In fact, designer needs to acts as

supervisor relying on personal set of assignments, controlling the quality of work, being

responsible for getting own clients, and assuming responsibility of taken decisions. Being own

supervisor, designer must demand as much from him- or herself as other supervisors might

have demanded. For that reason, designer must be self disciplined and self-reliant.

The list of professional requirements can be continued by willingness for experimenting

and developing an idea, ability to learn during working process, readiness to try new materials

and techniques, etc. All mentioned distinctive features illustrate designer from the perspective

of professional skills that are necessary for career. Career opportunities are illustrated in the

next subsection.

3.6.1 The two types of design practice

Designer has several career opportunities. One of them is being hired by design studio or

company that needs design services. To correspond to requirements of design studio or

company, a designer should obtain a wide range of technical, personal, and communication

skills. Working at a design company automatically stimulates designer’s creative thinking

because she is surrounded with the same ambitious, talented, and skillful colleagues (Salmon

2001, 56). If designer is hired by non-design studio, her competitiveness is additionally

21

determined by understanding concrete field of technology or science. The main distinctive

feature of hired designer is that she is just one member of a big system that demands ability to

work as effective communicator and performer in official context (Salmon 2001, 56).

Many individualistic and free-spirited persons may consider these complex social

environments to be not comfortable. However, such experience may become useful. First,

working as hired designer helps to collect professional portfolio that may become a strong

foundation for future independent career. Second, few years of working at a company is one

more step in education that places a designer at more professional level. In this case, the

company can provide valuable training. (Salmon 2001, 57−58) Whatever the specific job may

be, a designer immerse into design process and sharpen her skills at every step. Starting from

getting a task, designer goes through picking up the ideas and preliminary representation to

final implementation. As any design project begins and ends with the client, experience of

relations with the client is also useful. This experience might be not so stressful in a company

because other members of team help to support the process.

At first sight, working in a design studio and working in a design department of large

company may seem quite similar from organization point of view. They all do design and

provide products and services for other companies. However, there are differences that

influence to designer’s in choosing a career.

The activity of a design company is mostly focused on the message that its client

communicates to her own customers. Design companies usually have different clients with

different goals that can be conveyed by variety of design products. Also, sufficient number of

clients and adequate results enhance the reputation of the designer and may help to gain

prestige and recognition (Salmon 2001, 59). In contrast, work of design departments of large

corporations is concentrated at inner needs: documentation, brochures, corporate reports,

newsletters, and advertising modules (Salmon 2001, 60). Usually, new design products are

made on the basis of existing corporate style with several modifications. This means, the

responsibilities of designer do not extend over working with established design. However,

large corporations offer good payment and benefits. For example, health insurance, vocation

time, strict timetable without overtime, best materials and equipment, etc. (Salmon 2001, 60).

In addition, big company with wide known name is a good reference in resume for future

career.

Another way of graphic design career is being self-employed − becoming a freelancer or

running a design studio. Freelance means independent selling services or products to a number

of clients. Some designers prefer this kind of working because they do not want to spend their

22

time in office. Working from home is highly desirable: no studio rent to pay, no travel from

home to office and back, when the task is finished designer is free to move on or to have a

week for rest (Foote 1996, 60). This type of designers has strong personal vision that can not

be adapted to structure of design group. These individuals with solitary approach to design set

up freelance practice because it is a working necessity. Nevertheless, being independent,

designer needs to be self-reliant and accurate. Being self-employed requires even much more

self-discipline, self-confidence, and self-criticism than being hired by a design company. This

means that freelancer must have additional abilities. For example, getting own clients, doing

own public relations work, setting own schedule, keeping records, ordering equipment and

materials, taking care of bills and accounts (Salmon 2001, 83). All these things should be done

besides design work. For this reason, good administration skills should be acquired and

become habitual every day.

A freelance practice takes much of personal effort, but it has one main advantage − it

can become a good start for setting up own studio. Having been satisfied with design product

once, clients can order the set of design products or engage designer in longer cooperation

(Dolan, 2008). In this case, ‘good’ clients that pay adequately and on time bring financial

benefits and self-employment is considerable (Shaughnessy 2005, 49).

The graphic design studio is considered to be a unique factory consisting with group of

visionary individuals that are engaged into creation of design (Shaughnessy 2005, 59). It may

seem a fertile place to work − it gives independence, individual or collective authorship, and

feeling of equality that is rarely experienced elsewhere (Crawford 2005, 17). In fact, most

design studios can be defined as places of stress and long hours of hard work, where moments

of euphoria from creative achievement are rare (Foote 1996, 289). Nevertheless, in spite of all

difficulties and risks, many designers run their own studios because they want to take control

of their financial destinies.

Setting up a studio is a process that should be well-organized and counted. This process

includes audits, analysis, development of strategies, and definition of office responsibilities. It

also consists of tracing finance, following deadlines, control of assignments’ implementation,

and transmission of information. (Crawford 2005, 17−23) All these things have to be done as

well as bringing in clients, negotiating the contracts, getting clients pay, advertising and

promoting design studio, buying materials and equipment, protecting insurance, and, sure,

doing design. When all the elements of one system are under control they function smoothly

and bring profit.

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4. Who is the client?

It is hard for designer to realize how difficult is to be a client. Whether it is an individual

businessman or a company’s executive, she has non-normalized timetable and crazy tempo of

life combining roles of service provider for end user, representative of a company and the

main contact person for designer. Moreover, client has a high responsibility for success of the

project, but probably indirect control over the implementation process (Young 2004). Being a

company representative or individual businessman, client is a person that has a responsibility

for selecting the outside consultants. She puts her own professional credibility, reputation, and

future on the line when choose the designer (Rayle 2006). Just one bad experience may ruin a

career and business. Also, client is a person, who will live with design after project has been

completed and designer has left away. For that reason, designer should correspond to the

needs of a client. Trying to understand requirements of a client is a challenge, but not knowing

the client is even worse.

This chapter aims to describe a client. Actually, each client as well as each design

project is unique. At the moment a designer thinks that she knows how to deal with clients,

one appears that does not fit any ‘rules of the game’. What designer can learn is how to deal

with one particular client (Shaughnessy 2009, 20). It is very difficult to discover and

generalize distinctive features of a client. For that reason, this chapter provides only an outline

for the portrait of client and describes it from the angle of business hierarchy, activity where

design is matter of importance, and level of familiarization with graphic design. Therefore,

this chapter helps to understand client’s pressures and realities. This is a significant step

towards establishing profitable and long-term relations with them.

Besides various factors like company governance model, amount of board members,

company’s turnover, phase of company development, and others, the client’s position in

hierarchy categorizes client more accurately. Understanding of where client stands on the

corporate ladder may help a designer to discover what is the level of client’s personal

involvement, responsibility, and interest in design process. This knowledge, in turn, helps to

establish cooperative relations. This section outlines portraits of business owner, creative

director, department manager, and staff level professional.

24

4.1 Business owner

Business owner or entrepreneur is a person that starts a business activity solely, with

partner, or with group of accomplices. Definition of typical business owner is vast and very

much depends on specific character of business structure and activity where business runs.

Also, every business starts with an acceptance of risk to lose financial investments and to

burst; and even if business runs successfully it constantly requires additional contributions for

development (Suttle 2010, online). At starting point or at times, it might also require loans.

Therefore, business owner is wholly responsible for debts or losses that risky enterprise

entails. In general, the responsibilities of an entrepreneur include the wide variety of tasks:

hiring qualified employees, organization of company policy and corporate culture, control of

expenses and profits, tracing of taxes, creation of business plan, and coordinating of

advertising and promotion (Suttle 2010, online). Also, for successful business, entrepreneur

should have skills and talent to attract customers. It demands excellent knowledge about

industry, products or services, communication channels with consumer, demands of

consumer, forces and weaknesses of competitors. Moreover, this complex mechanism should

function within law limits.

For successful development of business, the owner should create a strategy based on

several principles. First one is looking at everything from audience point of view (Coate 2003,

272). It is significant to understand people that product, service, or action is going to reach. It

reveals the implicit factors that motivate them to take action. After identifying target audience,

business owner has to provide straightforward message that results in action (Coate 2003,

272). The clearer message is the more vividly audience reacts. It is also important to make

action simply to accomplish. Business owner should emphasize that aspects of action that

audience percepts as beneficial. Having information on what audience likes, dislikes, and

cares about helps to speak clear language to a target group. Human-centered approach means

that business owner perfectly knows specific segments of audience. This principle is also

helpful in work with designer.

Second, business owner must perfectly know what she offers to audience. She can not

rely on instincts and assumptions; instead, deep research should prove or disprove the

assumptions (Coate 2003, 270). In practice, this marketing research becomes a basis for

communication strategy that motivates the audience to try the product or adopt the behavior. It

includes media to deliver the message, content of message, its manner and allure. In this

context, designer is one of specialists that may help to create visual communication strategy.

25

To organize people that are included in business team, the owner should have good

management skills. It is important to be ensure that people do work that is necessary, to make

valuable employees free from work that can be done by others, and to make assignments clear

for implementation. It requires understanding of how present inner living system works and

how it can work more effectively. To be productive, system should become smart and

predictable (Coate 2003, 269). It should be optimized globally, because local improvements

might have no result on the bottom line.

Effective using of time is another critical factor that determines success or failure of

business. In situation of strong competition and high speed of product development, everyone

wants to be the first and predictability seems to be illusive. Business owners are nervous about

deadlines, because short delays of deadlines can bury years of efforts. Moreover, missing of

deadlines or wrong calculation of how long particular stage of process may take leads to

crash. Being not first, but second often means failure in competition (Coate 2003, 271).

Therefore, to reduce the risk, business owner should plan project precisely and efficiently.

Taken risk and high level of responsibility do not guarantee payback. Salary of owner

may vary greatly, depending on size of business, its stage of development, and economical

trend in certain segment of industry. (Suttle 2010, online) When starting a business, owner

might not have profit at all, or she can pay herself less in order to invest more in business. Bit

if conditions are favorable and business runs successfully owner might have serious incomes.

In many respects, success of venture depends on personality of business owner. It is

based on complex of different characteristics (Stephenson 2009, online):

• Devotion to business;

• Planning and thinking several steps forward;

• Wise use of money;

• Thinking first about customer;

• Ability to inspire, coordinate, and join people together;

• Ability to create competitive advantages for personnel and for consumers;

• Aspiration to learn;

• Being accessible for colleagues and clients;

• Consistency in work.

Being a leader of a business, owner should know about the affair more that any other

person in the team. Global vision and strategic thinking of business development differs her

from others. Moreover, an entrepreneur is a person that takes all risks and responsibilities of

26

success or failure. By developing of business, she changes people’s experiences and creates

new social behavior.

Designer is one of specialists that can help business owner to reach strategic goals by

improving of visual communications between people, processes, and product. Business

owners might not know specific subtlety of design; they speak the language of company

policy and strategic goals. In reality, they do not need design and do not care about color

combination, balance of composition, and typography. Client states a problem that generally

sounds like ‘I need this to work better’. All the other things are less important. Client might

not even feel that design may have so big effect for sales because it is difficult to track

(Cooper 2003, online). But it is more important when head manager speaks to designer at

level of strategy and thinking several steps forward (Cooper 2003, online). In this case, direct

communications and mutual understanding between owner and graphic design are very

important. It helps to produce clear policy of company, improve system of product

development, and make a work flow smooth and rational. This section shows that business

owner has similar goals and uses similar principles that designer does, but entrepreneur looks

at business from the opposite point of view.

4.2 Creative director

Top manager is the next element in business hierarchy. In the context of cooperation

with designer, creative director acts as a mediator between designer and company at the top

management level. She works at the stage of planning and translation of policy into in form

that can be easily translated in visual language (Vucsko 2008, online). The mission of creative

director position is to provide effective coordination and integrity between company’s brand

strategy and key marketing role (Vucsko 2008, online). Also, creative executive develops

strategic response to consumer’s needs and expectations in form of intelligible

communication. Hence, it requires experience in creative planning, development of brand

messages and understanding the significance of design as a strong communication instrument.

For example, in advertising, this means ensuring that new advertising fits in company’s image

and company’s image corresponds to requirements of target audience. In other industries,

creative director is responsible for vision of the product or activity. The number of

responsibilities of creative executive depends on the size of organization and level at which

she is hired. Creative services manager of organization with significant marketing efforts

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directs production of both internal and external brand communications using different

channels: advertising in mass media, promotion, campaigns, direct mails and e-mails, and

other auxiliary instruments (Vucsko 2008, online).

The role of creative director demands high qualification and approximately 10 years of

experience in directing of products or services (through printed, electronic, and interactive

media) and staff (art directors, designers, photographers, artists, representatives of mass

media) (Vucsko 2008, online). The more multifaceted experience creative director has, the

more global picture she can see and the more rational decisions she can take. Multiple

experience allows creative director to operate with the whole set of communication

instruments in order to address a proper creative message to outside vendors (Pattis 2004, 70).

Indeed, this position demands strong personal characteristics: natural leadership, firmness of

purpose, and managerial skills. Stress resistance is also important. For example, creative

director gets most of acclaim in case of success; however, when project goes wrong, or board-

of-president does not like an idea she gets all the blames and negative responses (Vucsko

2008, online). Thus, creative executive is a person that has business mind, that is able to do

multitask very well, that has excellent presentation and communication skills.

Creative director might be called lead designer, chief creative officers, director of

creative services, manager of creative services, etc. In some cases, brand manager or product

manager may take a role of creative director. Titles may vary depending on company’s

specific character. Nevertheless, having such expert on top management level provides

advocacy and well coordinated communication between product, company, outside vendors,

and finally consumers (Vucsko 2008, online).

From the perspective of relations with designer, creative director might be comfortable

to work with because this person understands communication objectives, brand strategies,

production techniques, and efficiencies (Pattis 2004, 70). However, not every organization has

this kind of expert and designer may work with top managers of different branches. Therefore,

cooperation with several members may negatively influence on results of design project and

relations inside working team.

4.3 Department manager

Going down by hierarchical ladder, this part approaches to department manager, whose

responsibilities include organization, definition, control of projects and routine work on the

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level of department or section of a bigger business branch. Primary, department manager

articulates the needs of the department members to the administration. Consequently, she acts

as a reliable link between central administration and department staff to implement and carry

out organization’s policy. Also, she correlates intents of each department member with overall

purpose by connecting department objectives with the broader mission.

General responsibilities are divided into more particular operations and concrete

assignments: making plans for short and long term projects, choosing team participants,

preparing budgets and schedules for big and small projects, controlling of implementation,

writing of supporting documentation, conducting of work review, and writing of work reports

(Thomsett 2002, 2). Thus, all these actions have aim to organize smooth work of department

and to predict coming changes.

Also, department manager account for routine work and new complex tasks (Thomsett

2002, 2). In each job, there are habitual and repetitive operations that have become natural and

that do not disturb usual working atmosphere. They are easier to manage with because after

going through them a couple of times, one knows what to expect. Hence, routine tasks are

mostly predictable and can be made almost automatically. However, in business, everything

changes very fast and organization’s development is impossible without new projects. Special

tasks appear at every level of company. Consequently, department manager may face the

problem of leading new project that is hard to plan, define, and organize (Thomsett, 2002: 2).

Design project might be one of these stressful situations when department manager is

put in very strict conditions. In contrast to routine tasks, it entails problems that are never met

before. Besides limited resources, small budget, and short deadlines, design project may not

have detailed description of specific goals. Project might be described from the perspective of

end result and global meaning for organization (Thomsett 2002, 3). Commonly, rare person in

non-design area can give practical guidelines to define the exact objectives of the project.

From one hand, department manager should control and direct the team to achieve the result.

From the other hand, she is pressed by limitations and high level of responsibility (Thomsett

2002, 2). Moreover, department manager has another paradoxical distinctive feature − being a

leader, she rare has indisputable authority. Any moment, leadership can be restricted.

Therefore, such nervous mood may negatively influence on the character of relations with

designer and may become one of the reasons of misunderstanding.

However, even stressful situations have their advantages − new skills are obtained

within every oncoming project. In this context, manager learns to apply existing knowledge to

inexperienced situation, plan phases of the task, develop its specific goals, and assume

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possible problems that can arise (Thomsett 2002, 2). Knowing how to manage with the routine

working cycles can also help in operating with new projects (Thomsett 2002, 2). Thus, it is a

part of manager’s skills to function within changing environment.

A department manager rare acts alone. A team of specialists helps her to deal with

assignments successfully. Within one company, members of one team are bounded together

for a long term. Hence, support, trust, and personal interaction with colleagues are important.

Therefore, success or failure of joint work depends on relations that manager can establish in

her department (Thomsett 2002, 152).

It sounds simple, but in reality, trustful relations are hard to achieve. Well-ordered

mental-rhythm of work can hardly drive somebody in distraction. However, urgent or high-

ranking projects may easily drive in tension (Thomsett 2002, 152). In addition, out-of-order

situation entails communication challenges from outside (Thomsett 2002, 153):

• As department manager does not always have absolute authority of assignment,

she does not always make a final decision. It may threaten to divergence of

opinions between manager and committee that has given assignment.

• Managers of other departments have their own priorities and specific objectives

concerning task that is carried out. It may entail problems in schedule or in

additional unforeseen details.

• In many situations, project needs additional contribution form outside resources

that are not part of department or even company.

Therefore, being a leader and a follower, the department manager should have a talent to

communicate in a lucid way and foresee upcoming changes. Also, for vitality of company and

high quality of work, department manager should have team composed of the best persons

placed in specific position. Though staff professionals are those who are directly subordinate

to manager and have low level of supervision, they make up one mechanism that provides

successful implementation of tasks (Banjamin, online).

4.4 Staff level professional

Generally, according employment contract, executors of staff level may take permanent

position in the team or may temporary act for absentee. Depending on company needs, they

can work for part-time as well as for full-time. The field of work may also require high school

diploma or undergraduate degree. For example, office secretary or customer service job might

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only require undergraduate certificate, whereas technical specialist or financial analyst needs

to have high school degree. To force up job performance, company might also organize

additional specific trainings and courses for staff level specialists. The level of knowledge and

working experience may vary according subject matter of the job. For instance, some jobs

require mastery and long working experience; other ones look for basic skills and do not need

working experience. Accordingly, salary of entry level specialist is not the same as salary of

professional with several years of working experience. Nevertheless, the main benefit of staff

level job is opportunity for professional growth fulfilled by practical skills, additional

knowledge, and working experience.

Development and growth is important not only for employee. Company is also interested

in keeping the best of the best because its survival depends on them. A new person is a kind of

material that can be used to reach own objectives in exchange for getting working experience

and obtaining new knowledge (Hersey, online). Opportunity to learn is the main motivation

for entry level staff. For staff professionals working in company for long term, development

and support provided by employer is additional opportunity for horizontal and vertical growth

(Hersey, online). In this context, challenging and worthwhile tasks can enrich their job and

life. Common tasks or trainings join team together and inspire for creativity and innovation.

Moreover, support gives rise to employee’s devotion to company, respect, and openness.

Thus, loyalty, correspondence to job, enthusiasm, and honesty are certain characteristics of

staff level executors.

Among requirements that employee presents to company, environment is the most

important aspect when staff makes a choice of place to work. Indeed, benefits and relevant

payment are significant aspects, but working atmosphere is the main one. Comfortable

working environment may consist of different factors: working goals, career opportunities,

personal space, schedule, style of clothes, manners of relations, corporate culture, and many

others (Banjamin, online; Hersey, online). If working conditions do not satisfy employee,

dissatisfaction starts to grow and specialist tries to find another company to work for. It leads

to the problem of employee rotation (Hersey, online). They come in a company, learn basic

skills, get working experience, and being not satisfied with something, they live to another

employer. It makes keeping professional stay in company one of the most difficult problems.

Many employers afraid to invest in people because they know that person will leave with all

provided knowledge and skills (Hersey, online). Therefore, personnel turnover is the highest

at the level of staff professionals.

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Staff level professional may also become a client of designer. However, there is no

guarantee that a freshman clearly interprets global objectives of a company to designer. Junior

might not have proper knowledge about company’s direction of development because they are

not admitted to this information. Also, she might have no idea about how much design may

cost and how much time is needed for implementation. However, there are many responsible

professionals at the staff level that have enough competence to manage design projects.

Moreover, they are stimulated by the sense of respect and enthusiasm from a new task. In this

case, the main problem is that within company hierarchy, they do not have much decisive

power. Also, they are pressed and controlled by higher administration and can not be charged

with ‘serious’ design project. And when project is not very important and does not have much

value it does not have much supervision. In addition, junior people become one more element

in communication chain where information might be lost or transformed (Browne 2003).

Therefore, this state of things may negatively influence on design and relations with designer.

4.5 Educated client

An educated client is a breath of fresh air for designer, because such client treats

designer as a professional and trusts her (Starck 2007). An educated client builds relations

with designer integrating analysis with intuition and keeping in mind that the process is as

important as final outcome. Hence, educated client more or less can put herself on the place of

designer and balance all the parameters of a project: schedule, budget, functionality,

technology, and other specific knowledge (Starck 2007). Thus, this means that designer

‘sows’ thoughts into an already prepared soil.

The main specific character of educated client is competence, willingness to learn from

cooperation with designer, and active participation in design project. Being familiar with

design process is a big advantage because in this case client helps designer to produce right

solution (Guest 2008b). Indeed, this does not mean knowing specific character of design

process, understanding of design terminology, and standing behind designer’s shoulder.

Nevertheless, understanding of design importance and its necessity for business development

is crucial (Guest 2008a). Client should answer the following question ‘Why do I need design

to solve certain problem?’ or ‘How design can help in existing situation?’ Therefore, clear

vision of design problem makes a considerable contribution to cooperation with designer.

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Ability to find and choose qualified designer among others is another advantage of a

client. In field full of people offering design services, choosing of graphic designer might

become a daunting task. Therefore, good selection is necessary to get what is really needed

and to avoid claiming about unexpected result (Busch 2008b). Still, searching for designer that

asks the requirements of the project may take time. However, wrong choice will take much

more time and money to find another designer and to correct mistakes. To the contrary,

collaboration of educated client and qualified graphic designer leads to comfortable relations

during working process and provides better results.

As design business has very collaborative nature, educated client acts not as dictator, but

as collaborator between design and different specific knowledge (Young 2004). Her role is to

combine and coordinate separate disciplines in order to identify all possible ways that the final

product should convey. This role demands integrated approach that does not respond to

autocratic way of thinking (Puleo 2008). Also, effective integration helps to prioritize project

objectives and formulate precise request for design. Moreover, it helps to become aware of

how much time and efforts should be applied to assignment and what members should

participate in the process. (Puleo 2008) In addition, being a collaborator, client gains a sense

of ownership and higher implication. Thus, client’s equitable participation and constructive

dialogue with designer leads to more efficient results.

However, integration does not mean just participation. In design process, client is a

decision maker. As client orders design project, she takes supervisory function that determines

basic compulsory responsibilities. Concerning design process, client should acknowledge the

following (Grefé 2009a, 30):

• Coordination of any decision-making with designer and parties other than the

designer.

• Provision of content in a form suitable for reproduction or delivery without

further preparation or meddling in.

• Final proofreading and approval.

Also, client’s role may require several additional responsibilities (Grefé, 2009a, 45–46):

• Communication of administrative or operational decisions if they affect the

design of product or service, and coordination of required public approvals and

meetings.

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• Providing with accurate and complete information and materials requested by

designer. For example, color and material samples, corporate guidelines, rules,

and regulation information.

• Providing with approved naming, nomenclature, secure and correct information

from third parties.

• Arranging for the documentation, permissions, licensing and implementation of

all structural or mechanical elements needed to support design process.

• Final proofreading and written approval of all project documents including, for

example, schedules, plans, sketches, and design drawings before their release for

production.

• Contract negotiation, sourcing, establishment of final pricing and contract terms

directly with designer and third parties.

Designer is lucky enough if her client is ready to share responsibility and take active

participation in design process. In this case, designer remains only to attentively listen and

translate remarks in visual language. Educated client is a windfall because she allots design

with multidisciplinary vision and helps designer to understand much broader meanings than

before (Scharff 2005). Therefore, such client can make a serious contribution to design project

and her effort can not be overestimated.

It might seem that today, clients are more educated because design services are widely

offered and everyone can order design project. Indeed, clients become more sophisticated and

overstate their expectations (FitzGerald 2007, online). However, lack of true integration,

flexibility and latitude in all levels of business hierarchy leads to resistance with designers that

“dedicate their time and livelihoods to mastering visual rhetoric” (FitzGerald 2007, online).

Hence, this leads to resistance with designer and necessity to adapt to circumstances. Thus,

compromise may confuse a client and stain the reputation of the design profession.

Unfortunately, educated client is very hard to find and uneducated clients are met more

often. In reality, anyone might become a client as well as anyone might become a consumer of

design. Generally, uneducated client is a client that has no idea about communication,

information, and aesthetical impact of design. However, even client that orders design not for

the first time might have different opinion on some issue, different sense of aesthetics,

different concept on the project, and different manners or working style. Nevertheless, client

might be of any suit and she is not obliged to be a specialist in design and visual culture.

However, client has achieved a success in some other field otherwise she would not have

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addressed to designer. Moreover, design is a job of a designer. Consequently, designer is a

certain person that must keep client from wrong decision and brake stereotype that designer

does whatever client wants. Designer that blindly makes what is told by her client is not

professional. Whether educated client or not, consumers do not evaluate client, but they do

evaluate design. Thus, to reach the goal of presented task, designer should learn as much as

possible from the client.

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5. Reasons of disorder in relations between the graphic

designer and a client

This chapter intends to discover the reasons of faulty relations between the graphic

designer and a client. Though it is possible to describe graphic designer and outline the

portrait of a client, each of them is unique. There are no two similar designers as well as there

are no two identical clients. For that reason, building of productive relations is difficult for

both of them. Designers complain that they are treated as second-rate people, deadlines are

unreal, many of their ideas are buried, and a critic from their clients is unconstructive. Also,

clients complain that designers do not understand what clients want, design costs are very

high, design process is too long, and results are unexpected. Thus, it entails tension from both

sides.

5.1 No respect Acting as a communicator, mediator, and producer of visual ideas is not the hardest

thing in design profession − being ungratefully treated as a supplier is harder. Often, ability to

be the cheapest becomes the main determinative factor of client’s choice. (Browne 2003) It

might seem that such attitude is related to economical recession of last several years.

Consequently, clients are nervous about budgets, designers feel threatened and scared to lose a

job. In this situation, the question about how cheap designer can do the project becomes

common (Browne 2003). Thus, it leads to resistance with a client and deterioration in their

cooperation.

Since relations between graphic designer and the client are business relations, one may

think that money is a determinative factor in success. However, in relations, question is not

about budgets and costs. There is always someone that will offer lower price, or higher price,

or even will design for free. After all, work costs as much as one is ready to pay for it, and low

compensation not always mean disrespect. Also, price is not a guarantee of qualified work.

Successful designer is motivated by sturdy passion for profession, not by money (Busch

2003). In this case, not price, but design capability is chosen as the most significant value

(Busch 2009). Hence, it is much to tell about respect, ethics, level of personal responsibility,

and inner culture of design process participants. No respect − this is a starting point of most

failures in relations. It is evinced by distrust, treating designer as amateur, meddling in design

36

process, mentoring, and dictatorship (Browne 2003). Moreover, it slows down project

embodiment as well as designer’s professional growth, creativity, inspiration, and other

subjective qualities.

Another reason of treating designers with less respect is connected with technology and

specific computer software. Undoubtedly, technology has revolutionized creative process

giving designer unlimited amount of instruments. Many processes have become automated,

computer-aided, and computer-controlled (Giffen 2004, 24). Technology has given

opportunity to work faster and more rationally. However, it has raised the demands of clients

that want designers to do their job in short terms and for less charge (Bennett 2006, 200−202).

Also, easy access to computer programs allows almost everyone to pretend a designer only

because she has tools for designing. Today, everyone can create something aesthetically

pleasant and pretty. Therefore, it reduces the value of design.

Trustful relations start from self-respect. Designer can not demand respect from others if

she forgets about self-dignity. Disrespect to own self is a direct way to non profitable work,

spending much more time doing design project, and deterioration of quality (Snell 2010,

online). There are several things that designers do that are disrespectful to themselves:

• Understating of price. Designer may put a lower price for her work in order to

compete with others. It is harmful to designer because even with low price work

requires time and effort (Snell, 2010, online). For earning worth living by doing

projects for low price, designer has to do a rush job. This means the quality of

design comes down.

• Not charging for additional changes. Almost every project has changes and

amendments during implementation. It becomes unbearable when price is agreed

without additional compensation and client wants to change for example whole

design concept (Snell, 2010, online). If additional fees are not agreed, this means

designer does not respect herself.

• Neglect of contracts and norms. If designer does not pay attention to getting a

signed contract and establishing agreements of payment, it may conduct many

problems (Snell 2010, online). When project does not develop according plan

and there is no legal protection in the form of contract, designer feels disrespect

to herself because contract has not been negotiated before designing.

• Lack of client’s involvement in design process. Skipping pre-design stage entails

more mistakes, changes, and corrections. Lack of client’s involvement leads to

low quality of work, worse results, and more wasted time. If designer does not

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• Snatching of any project that runs across. Being disorderly in project selection

leads to losing of those ones that designer is worth. By accepting every project

that comes at hand, designer may not notice really interesting project that will

answer her skills and experience and will be really enjoying (Snell 2010, online).

• Poor time management. Many designers prefer to have flexible timetable, some

of them even like to work at night. Flexible timetable seems to be attractive,

however it does not put clear distinction what time is for work and what time is

personal (Snell 2010, online). It might mean working during late evenings and

weekends. If designer does not set clear schedule for each day or week, it

negatively affects the work.

A designer’s self-disrespect also means designer’s disrespect to a client. This behavior

originates from neglect of professional principals and standards. Indeed, it is hard to behave in

totally respectful way. Neither designer, nor client keeps all ethical rules. Thus, it becomes a

reason of disorder in relations between the graphic designer and a client.

5.2 Lack of responsibility and unethical behavior A designer and a client might have acted in honest, respectful, and flexible way.

Nevertheless, in real design practice where just some single designers aspire to change the

world for better, these words may sound too perfect (Nini 2004, online). Therefore, this part of

my research covers the question of irresponsible and unethical behavior of both graphic

designer and the client.

Unfortunately, there are too many evidences of selfish and poor design. It proves that too

many designers work for short-term profit and for the commendation of their colleagues rather

than in a deliberate endeavor to find appropriate solution for specific design problem (Bierut

1999, 159). Being inspired by fashion and following own aesthetical preferences, they forget

about devotion. Many designers design for self-expression without regard to the client’s

requirements, budget, and project itself problem (Bierut 1999, 160). This means they forget

that success of their client is much more important than personal glory. Though many

designers are quite familiar with the ideas of ‘user-centered’ design, user is not included in

design process (Nini 2004, online). This is the biggest ethical failure that leads to reduction of

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professional standards, fall of self-appraisal, and disrespect. Therefore, the foundations and

essential principles of design are undermined.

Also, this section touches upon a question of balance between social responsibility and

profit. Design acts as distinctive feature that identifies product and producer. Practically,

design profession makes a real contribution in commercial tasks. This means that designers

work mostly for economy, where profit is obvious (Liechty 2006, online). Hence, social

mood, health, security, education, ethics, etc. stand beyond direct aims of commerce.

Designers depend on market and very often they forget about their ability to think and to act

according ethical principles (Bierut 1999, 160; Hardt 2009, online). For that reason, designer

meets contradiction between her social responsibility and profit earning.

Interest in short-term profit, inspiration by fashion, and neglect of social values are the

features of today’s marketing development (Bierut 1999, 160). Often marketing people

become clients of designers. They chose a designer, pay her demanding to complete the task

according their requirements, disappear and later participate on the stage of design evaluation

(FitzGerald 2007, online). Consequently, the factor of making decision and paying for final

product acts as the main point in conflicts. In this case, designer has to grit the teeth, do what

client wants and move on relieving all responsibilities. Inherently, neither designer, nor

customer is satisfied with such cooperation. Designer has to neglect the principles of

profession and follow client’s personal feelings. Customer has a dumb question ‘why did I

pay for design I could do without designer?’ Therefore, As long as autocracy dominates over

aspiration to ethics and as long as designers blindly follow tastes of person they are paid, there

will be no changes in design profession (Hardt 2009, online).

Nevertheless, many committed designers stay true to mankind standards and they deeply

feel things that they see. Many clients make a request for design projects in areas of high

social importance: education, elimination of illiteracy, healthcare, security, and others. Many

designers respond to the task offering creative and ethical design solutions (Hardt 2009,

online). However, in spite of striving for virtue, designer is not suggested to be a member of

charity campaign (Liechty 2006, online). Designer’s aim is to make product that shows the

best correlation with ethic values as well as with financial values.

5.3 Stereotypes Stereotyped vision that dictates wrong conception about design and designer’s role is

another side of unethical behavior and disrespect. It puts a barrier in relations between the

39

graphic designer and a client. Moreover, stereotypes become one more cause for

communication gaps. For that reason, this part is included to my research.

Stereotyping is often thought in a deteriorative way because they portray things and

people in one-dimensional way. Many people think of stereotypes negatively because of their

flaring influence on thinking and behaving (Heller 2006, online). We all are subjected to

stereotypes because we try to generalize each case we have experienced: faced ourselves or

through friends and relatives, read about in books, seen in movies or television (Mazin 2008,

online). Certainly, conclusions based on stereotypical generalization might be accurate.

However, characteristics about person or subject based on stereotypes look very much

prejudice and keep back exact knowledge and facts.

Whether stereotypes are positive or harmful, they are very hard to overcome and graphic

design is not an exception. There, stereotypes act as blinkers that prevent from seeing new

solutions (Guest 2008a). Also, they put limits on ability to look at the problem from different

sides and imagine the full scope of the services that design can provide. In this context, both

designer and a client may become victims of stereotypes. Though clients may underestimate

the true value of design, designer should comprehend the reasons of client’s stereotypes and

help to overcome them (Heller 2006, online). Otherwise, this delusion leads to severance in

business relations.

Many problems in graphic designer/client relations are based on wrong idea what

designer is. For example, designers are thought to be supersensitive to criticism or they are

considered to work somewhere independently in distance to protect themselves from cruel

world outside (Vuks 2007, online). Indeed, designers are human beings with their weaknesses

and strengths – they may be social or closed, sense of humor or not. However, they are as

much susceptible to criticism as any other individual would be. Also, criticism does not spare

designer’s pride, it makes stronger and capable of great endurance (Vuks 2007, online). Thus,

such influence is useful for personality and for project itself.

Another stereotype is that designers are imagined as “…inadequate and maladaptive, so

you always take a high risk while introducing them to the customer...” (Vuks 2007, online)

Well, inadequate people could be met everywhere and there are ‘difficult’ designers as well as

there are ‘hard-to-deal-with’ clients. Real professionals and talented specialists are very hard

to meet, though it is a designer, product manager, brand manager, analyst manager, or sales

manager (Vuks 2007, online). Also, there are many clients that are educated in design and

have experience in working with designer as well as there are a lot of qualified designers that

can perfectly carry on negotiations with clients. However, stereotyping puts barrier to

40

communication and causes designer and client to act as if they already know facts about each

other. Therefore, it evokes prejudication that hampers the progress of business.

Another negative influence of stereotypes is that they give incorrect idea designer’s role.

For example, client may cling to the stereotypes that graphic design is an aesthetic

enhancement of things. This means clients do not think that designer can help them meet their

business goals, attract, and motivate their customers or users (Kothary 2009, online). Instead

of allowing designer to create a unique solution and avoid stereotyping, they may come with

ready decision based on samples seen before. Indeed, a designer should dissuade her client

from creating stereotypes. However, she has no choice if client finally points to some sample

and tells ‘this is what I want’. Thus, it leads to very typical design solutions, cloning of other

designer’s mistakes, mediocrity, and plagiarisms that are totally unethical.

Stereotypes stand close to ethics because the significance of the graphic designer has

been misinterpreted and marginalized. And designer’s ego has nothing to do with it. Here, the

main issue is that taking designer as decorator destroys user centered vision that is an integral

part of design process (Kothary 2009, online). This means every time when designer is treated

in such ungrateful way she has to go along knowing that design will dissatisfy customers.

Perhaps, in ideal world, designer could be accepted as a victim of injustice. However, in

reality, this position is obviously losing. Thus designer should choose – to become despondent

opposing nothing to destructive morality or to get accustomed and work with reality gradually

improving it by minimizing negative impact.

Since designer and client are undergone by stereotypes, design produced together is also

may become stereotyped. Even good one that satisfies customer’s needs may be based on

existing stereotypes and give rise to new stereotypes. However, great design is never mediocre

– it is unique because provides nonstandard and novel experience. Thus, a designer and a

client should aspire for solutions that are born from unprejudiced attitude in joint cooperation.

5.4 Lack of clarity Neither designer, nor client spends days and nights wondering how to create project that

is aesthetically unpleasant, that communicates ineffectively, or that muddles up the end user.

Tied together, they want to deal with each other, with design object, and with its consumer

correctly and clearly. (Adlin 2006, online) In spite of this, clarity is hard to find and design

process is full of disagreements that negatively affect project development. Therefore, this

41

part intends to discover the reasons of vagueness and missing of clarity in relations between

the graphic designer and a client.

In graphic design, clarity becomes a real challenge because it involves non-material and

psychologically unpredictable aspects of customer’s individual behavior. Both designer and a

client face with the problem of consumer’s definition, developing of proper message and its

visual representation. Early stages are especially hard – design strategies are not completely

defined, decisions are changing, and everybody generates numbers of ideas that are hard to

unite together (Adlin 2006, online). Also, to produce logical solution, these stages take time,

emotional inputs, and circles of reconsiderations. No wonder that clarity can be missed even if

everyone is interested in efficiency of collaboration.

One of the reasons of losing clearness is that usually designers and clients are people

that speak different languages (Adlin 2006, online). They work in different fields, they have

their own cultural background and social values, and they look at the same problem from

different angles. What is clear for one is confusing for another. Indeed, it is useful to have

translator that helps to understand project goals. Big design companies have project manager

or creative executive that is responsible for coordination between designer, client, and third

parts. However, not all design teams have this kind of specialist. In this situation, designer

becomes mediator, translator, and joining power of people involved in the project (Adlin

2006, online). Though it might take much effort, emotional input and time costs, it does not

always have success. Thus, missing of clarity has a negative influence on the product

development and mutual relations.

Situations when the graphic designer and a client are perplexed appear because they do

not have enough information that is needed to build productive cooperation. Concerning client

there are the following cases:

• Client does not always know what she wants. It is normal when client does not

know what she wants and asks ‘How can you help me with this?’ However,

when client comes to designer with radically wrong decision it hard to change

her mind.

• Client does not always know what possibilities design may give to reach her

goals. Not every client thinks about design as a strategy to reach consumer in

order to change behavior or persuade to act.

• Client does not always know that design process has many stages: preparing of

the design brief, making research, searching for reference, creating of visual

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ideas and concepts, making presentation of several solutions, selecting of proper

one, and making corrections.

• Client does not always know how many people are involved in design process.

Client might not have an idea that designer is not the only person that takes part

in design process. There are many other specialists: photographers, consultants,

technical specialists, product managers, etc.

• Client does not always know how much design costs. Cheap design differs from

professional one. Without knowing phases, people, and technologies involved in

professional design it is very hard to have an idea about design costs. The reason

of client’s question ‘Why should I pay so much?’ is that she has lack of

information.

• Client does not always know how much time design process takes. The reason of

client’s question ‘Why should I wait so long?’ is that she has lack of information.

• Client does not always know the specific character of negotiating contracts

concerning design. Client might not have an idea about opportunities, phases,

time, and costs of professional design. For that reason, negotiation may sound

like: ‘I will pay you if I like your design’.

Concerning graphic designer, there are also situations when lack of information prevents

them from mutual understanding with the client:

• Designer does not always know what client wants. For example, when client

comes to designer with ready concept it is hard to find out what is a real client’s

strategic goal and how design may help to reach it.

• Designer does not always know the specific character of clients industry or field

of activity. Clients come from different areas. Each of them has particular

distinctive features that need much effort and time to become familiar with them.

Designer’s knowledge and experience is not enough. Almost every project

requires research for getting proper information.

• Designer does not always know how much client is ready to pay for design.

Some design projects costs very expensive. But even if client has limited budget

there are many possibilities to find solution corresponding to this budget.

Without information about client’s budget, designer may state price that will

scare client. At the worst, client might be lost.

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• Designer does not always know decision maker in evaluation of design. There

are situations when designer works not directly with a client, but with a person

appointed to be responsible for design. Working with intermediary entails losing

of information that negatively affect on design quality.

Design is primarily a problem solving practice and process of searching for a solution in

a certain problem space. In this perspective, lack of information entails to wrong

understanding of the initial state of task and its goal. Without complete data, designer can not

set a problem, structure it, and find proper destination in searching for design solution.

Problem of lack of information mainly appears in the beginning of design process but also

reoccurs periodically as design activity progresses. For that reason, designer needs to gather

relevant information and cope with uncertainty during all design process.

In graphic design practice, nobody is insurant from conflicts and misunderstandings

because it touches upon individual aesthetical feelings that not always can be proved. In this

context, personal ego of both designer and client can be easily hurt and effective cooperation

might grow into disrespect and irresponsibility. Also, stereotypes, lack of clarity, and

problems in contract negotiations can wreck enthusiasm in relations. However, if reasons of

misunderstandings are noticed on time, situation might be changed for the better.

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6. Practical cases

Practical cases of this research aim to reveal real problems in relations between the

graphic designer and a client. The following cases examine how these relations are established

and developed in practice. They represent analysis of interviews taken from designers and

their clients and become a basis for further research that offers practical solutions to improve

relations between the graphic designer and a client.

Analysis of literature review describes two types of design practice: designer that runs

own business and designer hired by a company. In this context, practical cases relatively

present two types of relations: between client and design studio owner and between client and

in-house designer. Also, case studies present noncommercial and commercial purposes of

designer/client cooperation.

All interviews are taken from Finnish designers and clients. Studying on Master’s degree

programme in graphic design at University of Lapland and working in Finland as a graphic

designer, I have assured in significance of design for Finnish culture. It keeps and develops

the society through establishment of connections between person, environment, and material

world. According to the international researches, competitiveness of the Finnish industry is

extremely high today (Molarius 1993, 148). Real actions and qualified products have

generated a high reputation and trust to Finnish design. Being an element of industry, design

acts aesthetical, functional, and practical role in mass production. Leading position of

information technology, innovative approach, high level of science and education stays the

major factors of design competitive strength and its economical success (Molarius 1993, 150).

In this perspective, it is a great honor for me as a designer to have opportunity to obtain skills

on graphic design and apply them in Finland. Interview with Finnish designers and their

clients is a great international experience and possibility to learn more in graphic design.

6.1 Interview with studio owner and his client (case 1) The first case study aims to collect and analyze qualitative data on relations between

design studio owner and his client. Design studio name is ‘Numedia’; it was founded in 2004

in Lahti, Finland; the main activity is advertising, web-design, and graphic design. Designer 1

is a private person that owns ‘Numedia’ company. Designer 1 has Bachelor’s degree of media

assistant and working experience in graphic design and media since 1998. She worked as a

free-lance designer, in-house designer, and finally ran his own business. His career plans are

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to develop his design studio not as a designer, but more as a manager that coordinates work of

creative team.

‘Numedia’s client is ‘Satamaoperaattorit’ company. It is the Finnish Port Operators

Association that represents the interests of stevedoring and terminal services and other

materials handling and logistics operators in Finnish ports. The mission of

‘Satamaoperaattorit’ is to protect and improve operating conditions in the sector to ensure that

its members can conduct their business profitably and can constantly develop their operations.

Association belongs to Finnish Port Association and Ministry of Transport and

Communications. Association currently has 43 member companies operating in 25 different

ports. Company ordered different kinds of design products from ‘Numedia’: web-site,

corporate identity projects, and advertising for newspapers. Client 1 has been interviewed as a

person responsible for working with ‘Numedia’ and with Designer 1 in particular. According

corporate ladder, Client 1 works on position of middle manager.

6.1.1 Interview with Designer 1 To come closer to the topic of designer’s relations with a client, my interview has started

with questions that describe Designer 1 as a graphic designer. His coming-to-be a designer

began with love to drawing, building models, making music and being creative with

computers. At first, design was a nice sounded word, but later it became a visual language that

conveys the message that client gives to people. He defines his designer’s role as a link

between sender and receiver, though it seller and buyer or some institution and consumer.

Designer acts not only as mediator, but also as interpreter that contributes project with

personal impact. According Designer’s 1 words, designer does not decorate somebody’s other

ideas, but brings his own meanings. In this case, independent designer has more ‘free hands’

in decision making than designer within big company where ‘big guys’ decide the idea.

Discussion about designer’s own contribution to the project has additionally revealed inner

feelings of Designer 1. He talks about despair and determination that grow to fun and pleasure

when idea starts to form.

Designer 1 emphasizes communication skills to be important because they help to

understand the area where project is held. He refers design craft much to ‘customer service’

job where communication skills are the main instrument for business. Understanding of

business and communication skills come along working experience, not at educational

institution. Designer 1 believes that studying of designer never ends and school gives only a

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starting point for further development. He advances opinion that academism often ‘kills’ fresh

approach to things. Therefore, one can be excellent designer without university degree.

Designer’s 1 mostly has individuals and companies as clients. In this context, he marks

that individual clients have much more own ideas and preferences involved in design process.

In ‘Numedia’ practice, individuals often have low level of familiarization with design.

However, companies are easier to work with because they have more or less definite

guidelines for design projects. For example, ‘Satamaoperaattorit’ orders design projects

regularly and has concrete vision of design project. Now, when most design templates for

‘Satamaoperaattorit’ are done, the company mostly addresses ‘Numedia’ to renew old

materials. This means more routine job in comparison with new customers that comes with

challenging tasks. Nevertheless, Designer 1 tells that working with ‘old’ clients has more

clarity – it helps to shorten deadlines and to produce clear design message.

Answering the questions about relations with a client, Designer 1 tells that he follows

‘You reap what you sow’ concept. He treats clients as friends trying to offer best solution for

their problem. In this concern, Designer 1 thinks that ‘Satamaoperaattorit’, treats him as equal.

Among difficulties in relations with ‘Satamaoperaattorit’, Designer 1 marks rounds of changes

that may last for weeks and change deadlines. He also tells that sometimes he may understand

client’s idea wrongly. It happens because of misread of design brief, while communicating

only via e-mail without personal contact, or in case of undertime. Designer 1 admits that he

can make mistakes as every person. On his opinion, the main thing is to develop project

together with a client. Thus, he concludes that one head is good, but two is always better.

Among other methods to improve relations with client, Designer 1 mentions

responsibility, flexibility, planning schedule in advance, keeping in constant touch with client

while project implementation, and adapting to existing working conditions. Additionally,

Designer 1 tells about method that he uses when the project reaches the deadlock. He offers

completely different alternative to previously made solutions. To establish long perspective

relations, Designer 1 stays in contact with the customer afterwards to know if client needs new

materials or solutions.

6.1.2 Interview with Client 1 The same way as in interview with Designer 1, my first block of questions to Client 1

included questions about role of design. For ‘Satamaoperaattorit’, Client 1 emphasizes design

as an important instrument of communication that has strong aesthetical meaning. Since

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‘Satamaoperaattorit’ is not a sales organization, design does not have direct marketing

function. Therefore, produced materials play instructive, informative, and supportive role.

In ‘Satamaoperaattorit’, Client 1 takes up a post of assistant and she is the only

representative of the company that works with designer. In this concern, she addresses

‘Numedia’ for design projects and for updating of old materials. Mostly, tasks concern web-

page and layouts for printing. Besides cooperation with designer, her responsibilities include

working with publishing houses.

Client 1 defines her role in design process as a creator of a problem that should be

solved by designer. Within stating a problem, she also gives suggestions, but keeps designer’s

hands free. Final proof and approval are also included to responsibilities of Client 1. Client 1

plans the projects in advance. Therefore, project is normally made not in a hurry, but within

deadlines. Client 1 tells that she luckily has time for her dialogue with designer, making

suggestions, getting response from designer, and changes in sketches. This approach gives

effective result that company is happy with. Besides, Client 1 has inner belief that ‘Numedia’

is on the right way from the very beginning of the project. She is sure that her trust helps her

relations with Designer 1.

Client 1 prefers to address ‘Numedia’ from project to project. She tells that working with

occasional designers can not bring the same benefit as working with a designer that has

already known the client. Client 1 believes in profit of one person, who knows the client’s

needs and requirements. This spares difficulties of explaining tasks every time to a new

person. On Client’s 1 opinion, designer is a mediator of client’s ideas and a producer of own

ideas. This combination helps to produce the best result. Also, Client 1 tells that client is busy

with many different things and does not always have design skills. She needs somebody to

make ideas come true − appear on screen or paper. Client 1 tells that she respects Designer 1

because he makes her vague ideas turn into something she wants but does not know how to

explain. Client 1 emphasizes that in addition to design skills, Designer 1 knows technical

restrictions and regulations that should be taken into consideration during implementation.

Answering the question about designer’s attitude to a client, Client 1 considers that Designer 1

works from customer service point of view. ‘Satamaoperaattorit’ wants some project and he

tries to produce it with help of creativity and other instruments. Designer 1 is ready to give up

his personal preferences because he knows that he does project not for himself, but for his

client.

Answering my questions about difficulties in working with designer, Client 1 mentions

that she has no problems in relations with ‘Numedia’: no confrontations according ideas, no

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missing deadlines, and no endless rounds of changes. Client 1 marks that she always gets that

what she expects to get and Designer 1 understands the needs of the company quite well.

However, sometimes problems appear because Client 1 is not very accurate with design brief.

Though Client 1 does not have ‘horror stories’ about relations with designer, she emphasizes

more information, more clarity, and more precise brief as good instruments to improve already

established relations.

In the end of interview, Client 1 tells about compromise. On her opinion, compromise is

not needed because finally client decides what she wants. ‘Satamaoperaattorit’ addresses

designer in case when serious obstacles can not be overcome and company wants qualified

help. Satisfaction with work is a good argument to continue cooperation with designer. The

more company works together with ‘Numedia’, the easier cooperation becomes.

6.1.3 Analysis The following outline presents my analysis of findings provided by Case 1. Interviews

presented in this case leave the impression that both ‘Numedia’ and ‘Satamaoperaattorit’ are

satisfied with existing character of relations. They give an example of open, honest, and

smooth customer relationship. Such relations are based on precise differentiation of

responsibilities, on clear understanding of design role for the business and on distinct

definition role of designer and client in design process. Though both designer and a client talk

about design from position of customer service activity, they do not disclaim it’s ‘problem

solving’ function. This means they demonstrate clear vision of design significance and

adequately define their responsibilities in joint cooperation.

However, strong separation of duties in design process does not mean that Designer 1

and Client 1 work apart from each other. This means to be the right man in the right place and

do your job. In this context, personal effort of both interviewers can not be underestimated.

They intend to reach mutual understanding in order to produce the best design solution. Also,

in this team, the goals of the company predominate over personal preferences and feelings. In

addition, personal responsibility of both participants of the design process is reinforced by

openness and trust based on respect to each other.

Designer 1 tells: - If I tell that I treat my clients as friends that will be definition the closest to reality.

- I think most of clients treat me as equal… At least I hope so!

Client 1 uses ‘customer service’ line of reasoning. However, her statement has equal

meaning:

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- It seems to me Designer 1 considers us a client and himself as a supplier. We want design project and he

tries to produce it.

Talking about success of the project, both Designer 1 and Client 1 mention careful

planning as a guarantee of effective work. As ‘Satamaoperaattorit’ does not have constant

need in design projects, company orders design project not very often. Therefore, Designer 1

and Client 1 have time to make a plan for future work. Efficient scheduling is one of the main

advantages for business relations of ‘Numedia’ and ‘Satamaoperaattorit’.

Another advantage works for relationship’s goods. Since ‘Satamaoperaattorit’ has

chosen ‘Numedia’ as a supplier of creative ideas, it continues to use services of this studio.

Designer 1 is responsible for all requests form Client 1. It proves that the benefit of working

with one designer knowing needs of the client is bigger than benefit of working with

occasional designers. Moreover, it allots relationships with comfort and stability.

Although relations between ‘Numedia’ and ‘Satamaoperaattorit’ can be characterized as

productive and positive, there are several difficulties that appear sometimes during design

process. Among them, both Designer 1 and Client 1 mention rounds of changes that evolve

changes in schedule. However, they present changes in design project from different positions.

Designer 1 accepts it as extra job that he has to do because additional details are not foreseen

in advance: - This happens all the time, this is the work I hate the most when it goes on for weeks!

Client 1 reasons from client’s position, who wants to be satisfied with end result regardless of

intermediate changes: - Designer’s suggestions perhaps require changes that eventually give the result we are happy with.

Also, both designer and client notice that sometimes misunderstandings of the task

prevent from its fast implementation. Although Designer 1 and Client 1 speak about changes

and misunderstandings from opposite sides, they manage to concur with amendments in the

project. They both accept it as an integral part of design process. Their mutual trust and inner

belief in success also helps them to reach the goals of the project.

Client 1: - I have the feeling that our designer does listen to what we say and would like to get.

Designer 1: - If my idea is rejected I stay humble and start looking for another way of presenting it.

Designer 1 and Client 1 not only define problems in their relations, but they both

meditate on their relations’ improvement. They focus on fruitful cooperation that provides

effective design solution and they come to similar decisions. First, they agree in opinion that

mutual respect is the main element in foundation of relations.

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Designer 1: - For productive work, I need to respect the client and be flexible.

Client 1: - Trust and respect are initial parts of any kind of relations.

Second, they both see the reason of rounds of changes in lack of information and offer

possible ways to avoid or abridge them. Designer 1 and Client 1 emphasize more precise

design brief as a main guarantee for the smooth course of design process. Third, Designer 1

and Client 1 talk about importance of long future perspective relations. If client is satisfied

with designer’s work he likely will address him with new project. Presented views prove

proactive position of the graphic designer and the client and their aiming to develop

collaboration in future.

6.1.4 Results Case 1 approaches relations between the graphic designer and a client that orders design

for non-commercial purposes. The case describes their interaction from opposite angles −

client states a problem and designer solves it. It gives an example of equal in value relations

where roles of every participant of design process are strictly differentiated. This means that

both designer and client let each other do their job. Indeed, their duties intersect in order to

improve communication between ‘Satamaoperaattorit’ and its customers. Cooperation

between Designer 1 and Client 1 is based on respect, honesty, and mutual desire to reach

company’s goals. Efficiency of design projects is proved by growing number of companies

that annually become members of ‘Satamaoperaattorit’ association. Since both parts are

satisfied with result, these relations can be characterized as successful.

Regardless of the fact that Numedia’ and ‘Satamaoperaattorit’ has mostly positive

responses about their relations, some difficulties nevertheless appear. These difficulties are

mentioned by Designer 1 as he bears them. Client 1 is completely satisfied with relations

because she gets final result and does not know ‘back stage’ of creative process.

Analysis of interviews reveals the following reasons of misunderstandings between

designer and client:

• Not very accurate design brief

• Misread of design brief

• Tight schedule

• Lack of personal contact

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Case 1 proves theoretical findings of Chapter 5. Problems in relations between

Numedia’ and Satamaoperaattorit’ do not become critical and insuperable because of honest

attitude and high level of responsibility of both participants of design process. Moreover,

having analyzed existing difficulties, client and designer offer possible ways that help to

improve productivity of their joint work. Among them, they mention:

• More clarity

• More information

• More flexibility

• Accurate scheduling

• Keeping unbroken contact

• Adapting oneself to existing working conditions

6.2 Interview with in-house designer and her client (case 2) Case 2 aims to analyze relations between hired designer and product manager that both

convey strategic goals of one company in order to increase sales and brand magnitude. Here,

designer and client both work in one team, but from different angles. They do not have

absolute authority in decision making. Depending on project, different people (sales, technical

support, quality department, research and innovation department, and others) are included in

design process.

The company name is ‘Kemppi’. It is a well-known supplier of top-quality and

productive welding solutions. In its over 60 years of operation, Kemppi has introduced many

new innovations to the market, pioneering the development of both welding technology and

productive welding solutions. Kemppi's business operations, today covering the entire world,

are still led from the head office in Lahti, Finland. Kemppi has approximately 550 employees,

in 13 countries, ensuring the continuous supply and high quality of products, as well as well-

functioning customer service.

Designer 2 has been working at Sales and Marketing department in Kemppi during more

than 5 years. She has a broad circle of responsibilities: creation of advertising materials for

printing and multimedia, development of company’s graphic style, creation of modules for

exhibitions, nesting of operating manuals layouts, and others. Designer 2 has Master’s degree

in graphic design. Mostly, Designer 2 get assignments from brand manager and product

manager that work on behalf of Kemppi. Designer 2 has been interviewed as in-house

designer that fulfills multiple design needs of one big client.

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To complete this case, the main client of Designer 2 has been interviewed. Client 2 takes

up a post of product manager in Kemppi. His main responsibilities are gathering and

prioritizing product and customer requirements. Client 2 works closely with engineering,

sales, marketing, welding specialists, and technical support to ensure revenue and customer

satisfaction goals are met. As product manager, he defines product vision that supports the

company’s overall strategy and goals. Interview with Client 2 presents client’s opinion on

relations between in-house designer and person that works for the sake of a company.

6.2.1 Interview with Designer 2 My interview with Designer 2 also started with questions that help to define her as

graphic designer. Designer 2 tells that from childhood she liked drawing very much. For that

reason, her parents sent her to drawing school where she studied painting, textile painting,

drawing, composition, art history, modeling, and other subjects. She wanted her future

profession to be connected to creativity and skills obtained in art school. Designer 2 chose

design as a field where she could develop her artistic skills and apply them to real life. She

tells that artistic flair mixed with communication skills and successfully applied to concrete

problem defines designer as professional. Designer 2 emphasizes designer’s role as a link

between sender and receiver. Working at ‘Kemppi’, she acts more in commercial context as a

link between producer and consumer. On her opinion, designer works as a translator

interpreting words, meanings, emotions, and messages to visual format. Indeed, this job

should be done with big personal emotional effort. Designer 2 adds much from her soul, but

without distortion of reality and replacing facts.

Working at ‘Kemppi’ for 5 years, Designer 2 now acts more as a performer of ideas. In

the beginning of her work, she had many projects where she was a producer of ideas.

Everything was new and she made serious creative contributions to her job. Now Designer 2

knows all guidelines, corporate graphic style and people’s personal preferences. So, very often

she follows templates made before. Designer 2 marks that visual thinking differs her from

decorator. She tells that designer acts as a transformer of ideas to make them clear and

attractive. She gives example of clients that have a wrong vision of project development. Her

ability to show right way and offering better solutions than exist distinguishes her from

decorator. It includes the following: intuition, thinking beyond limits of existing samples,

ability to persuade and inspire. Also, attentive listening and trying to catch even unapparent

things (mood, intonation, attitude, etc.) helps in work. In addition, Designer 2 emphasizes

designer’s ability to explain and present ideas. This technique helps her in design practice.

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Designer 2 continues telling about designer’s additional skills with very interesting

opinion. She tells that designer is not necessary to know everything ‘here and now’.

Nevertheless, designer should always feel what additional skills might be required for his

profession. This means adaptation to situation. For example, some project needs more

technical knowledge of concrete field; another one requires more communication skills: public

speaking and presentation skills. Hence, every new project is a new challenge and requires

different knowledge. And designer should always be ready to learn. Therefore, this determines

professional growth.

Talking about significance of design education, Designer 2 notes that school gives only

basic knowledge that can be used as a platform for further studying. Educational institution

shows directions for development and offers the choice of methods and techniques that

designer may have in her kit. Also, school prepares specialist for real life where she can apply

possessed knowledge to real situations and obtain additional skills. Among these skills, she

mentions team working, presentation skills, and time-management skills. Designer 2 tells that

degree in design is not important. It is important to aspire for knowledge, to keep eyes opened,

and to be committed to profession. However, she marks that in reality designer with degree is

more competitive. For employers, degree might be a guarantee of quality.

My interview with Designer 2 continues with questions about clients. Designer 2 does not

see differences between working with private individuals or company. In both cases, she

works with people. Within ‘Kemppi’, people working with her on a project usually familiar

with design process. They might not know some details, but they trust her as professional.

Designer 2 mentions that people from other departments do their best at their posts and she

does her best trying to help them with the problem. On her opinion, this is exactly what joint

cooperation means. But if person is included in design project for the first time she needs to

explain specific character of work. What seems to be very easy at first glance, in practice,

might turn to long process that requires much effort. Designer 2 gives an example of

advertising materials that ‘Kemppi’ produces in 12 languages. This job that requires much

attention, rounds of corrections and proof readings. Thus, when somebody thinks this work

can be done in one working day Designer 2 needs to explain the details of working process.

Talking about relations with a client, Designer 2 mentions that she constantly feels

pressure of deadlines. In addition, she marks that in spite of this pressure, her clients treat her

as a professional. And Designer 2 treats her clients as equal too. Also, she reasons that her

clients provide useful information needed for the project. Thus, integration and client’s

involvement in design process lead to productive solution.

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Designer 2 turns conversation to the topic of difficulties in relations with her clients. On

her opinion, the main thing that destroys design process is missing of deadlines. When

somebody is late Designer 2 needs to change her timetable or postpone the project and then to

be in a hurry to keep the deadline. Undertime always drag her into stress. Among other

difficulties she mentions rounds of changes and corrections that happen all the time.

Nevertheless, Designer 2 accept them as a part of reality. Unexpected results happen rarely

because clients control the process and see the project from sketch to final version. So, they

can not be negatively surprised with the result. If confrontations according concepts appear,

Designer 2 offers alternatives. Thus, having several concepts is always better than one.

Describing difficulties of joint work, Designer 2 tells that there are many discussions in

the beginning of design process. There can be argumentations and confrontations, but they are

needed in the beginning to avoid misunderstandings later. On her words, start is always hard,

but when consensus is reached process goes smoothly.

Among reasons of misunderstandings, Designer 2 marks human element: lack of

information, bad explanation, or wrong understanding of task. Also, almost every project

consists of unexpected things that nobody suspects. There are also force-major situations

when technology fails – software is crashed or computer does not work. However, all these

difficulties should be taken easy. According Designer’s 2 opinion, nervousness can only

aggravate problem.

Reflecting upon improvement of designer/client relations, Designer 2 tells about attentive

listening and fast reaction on even small changes. She also mentions openness in

communication that prevents from conjectures and misunderstandings and designer’s ability

to defend her opinion. As ‘Kemppi’ always has need in graphic design projects, Designer 2

plans these projects in advance in order to establish long perspective relations inside the

group. Designer 2 concludes interview with statement that honesty, desire to help, interest in

what you do, trust, and respect are also very important. She emphasizes that these are common

characteristics not only of relations between graphic designer and the client, but of relations in

general.

6.2.2 Interview with Client 2 My interview with Client 2 started with questions about the role of design for ‘Kemppi’.

On his opinion, design is a powerful communication tool with strong aesthetic value. In

‘Kemppi’ context, the aim of design projects is to show product advantages, supporting

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evidences, and confidence. Design clarifies the message to the consumer and reinforces brand

magnitude. Thus, even small details matter because they fulfill the global image of ‘Kemppi’.

Client 2 feels that every Kemppi’s product should have strong communication. And as

image leaves stronger impression, he uses designer’s skills to provide powerful visual

message to the customer. Client 2 emphasizes graphical side of communication concerning

not only printed materials, but also multimedia. Client’s role in design process is to establish

and to fulfill the need in design and to become sure that work is done as efficiently as

possible. Since many people in ‘Kemppi’ can order design projects, the whole development of

graphic style can be destroyed. In this case, his role is to clarify the direction of project

development and put together all brand elements. This is needed to follow one general style in

design.

Describing his feelings during design process, Client 2 tells that he is always eager to get

initial results. He mentions that he is not patient in design process. At the moment he has an

idea, he wants to visualize it and to receive a result. Thus, Client 2 does not like weak waiting.

He expects that designer will catch his ideas and will offer visual representation of his own

ideas according presented task.

Client 2 tells that ‘Kemppi’ has an endless stream of design projects: web-sites,

brochures, logos, leaflets, manuals, catalogues, advertising modules, multimedia

presentations, and others. For that reason, in addition to services of in-house designers,

‘Kemppi’ address to external design studios. In this contest, Client 2 feels a very big

difference between working with studio and working with department designer. On his

opinion, external designers are more responsive and work in a good commercial speed

because they earn a living with this. They try to fit completed task into predetermined costs.

This changes the whole dynamic of relationships with the client – they are strong enough to

define right design style. They have vision of right and wrong directions in project

development. Also, if they believe that this concrete design will not work they can tell it

openly. To the contrary, the working manner of in-house designers looks more quite and

sometimes they need to be pushed.

As company is constantly challenged by competitors and market changes, ‘Kemppi’ can

not follow the same mood and argumentations in design. Client 2 argues that it is important to

think several steps forward. In this context, new designers bring new ideas and fresh view. For

that reason, Kemppi works with different studios and designers. Client 2 tells that when he

addresses a new studio or designer he brings new opportunity to their business. Therefore, he

is treated as a new client and given extra attention and design effort. It is interesting, fresh,

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energetic, positive and invigorating. However, Client 2 does not make light of in-house

designers’ services. He emphasizes that the longer designer works in company the more

designer knows about the company’s needs. In context of both relationships with studio and

in-house designer, Client 2 tells that the client and the designer should challenge each other to

keep collaboration fresh and honest.

Among distinctive features of the graphic designer, Client 2 emphasizes not only ability

to manipulate with images, but also aspiration to improve the quality of visual

communications. Since designers can make a reality of Client’s 2 ideas, he treats them with

respect. At the same time, Client 2 mentions that he does not respect laziness and weakness. In

this context, Client 2 divides designers to weak and strong. Weak designers are not strong

enough to redirect clients from wrong way in design project and prevent them from making

mistakes. Therefore, they work on ideas they do not believe. Thus, it leads to rubbish design.

During design process, weak designers might feel something like dictatorship. They feel

upset, frustrated, and angry with critics. This means concentrating on own feelings rather than

on process. In this situation, client will always dominate. However, the worse combination is

weak client and weak designer. When none of them wants to take responsibility there is no

effective result. To the contrary, if designer is strong and confident enough she will take

direction and develop even weak idea by offering several visual concepts. Such designer can

also redirect client to the right way. Thus, success of project depends mostly on designer.

Going over the topic of relations between graphic designer and the client, Client 2

supposes that designer might be upset with endless rounds of changes because client never

knows when to stop. When project is really exciting and interesting client wants to keep

polishing and does not want to give up. Endless improvement makes work too much sterile

and might kill its vividness. Client 2 thinks that clients’ desire to make design perfect depends

on how many projects they have. If organization is small and there are not so many projects,

client wants every detail to be shiny and nice. However, big companies as ‘Kemppi’ have an

endless stream of projects. They do not have luxury of spending months over one layout. For

that reason, the specific character of big company’s relations with designers is different.

Also, contract negotiation is a hard process for Client 2 because as manager he presses

costs down. Obviously, it influences the relations with studio or designer. As every little

change leads to increasing of the final price, Client 2 has to be very careful with corrections,

think about them in advance, and talk about them during contract negotiations. Nevertheless,

Client 2 always negotiates the final price regardless of changes and amendments. He tells that

he pays for finished job, not for the part of it. External studios do not like it. For that reason, it

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is useful to have in-house designer not to spend huge amount of money for weak work. Client

2 speaks favorably of Kemppi’s designers because company can do a lot of projects with their

help for less.

Besides, difficulties in relations appear when designer does not understand what client

means. It happens because sometimes Client 2 does not know what he needs. Here, he

mentions bad design brief and not clear communications. However, he 2 tells that with every

new project, both designer and a client grow as professional and as individual. Thus, they

learn from each other to explain and to express their thoughts.

Going deeper in design process, Client 2 tells that on the stage of initial sketches both

designer and a client are excited with the process. Fast sketches help to understand if chosen

direction is right or wrong. Everybody is energetic and enthusiastic because process is fresh

and new. However, the stage of corrections and polishing of details is terrible for Client 2.

Choosing between alternative images, selecting of right words for clear message, evaluating

from consumer’s point of view, and asking for other’s opinion takes much effort. This means

many elements should join together to make project work well. Nevertheless, there are many

examples of effective design projects based on positive and honest relations with ‘Kemppi’

designers. Among them Client 2 mentions a set of marketing posters, virtual showroom,

product catalogue, etc. All these projects have changed the vision of brand development, style

of communication with the customer, and attitude to welding business. Client 2 believes that

many projects can be done inside the company with help of department designers.

Answering the question about possible ways to improve relations between the client and

the graphic designer, Client 2 emphasizes strong clarification, good design brief, productivity,

commitment to job, openness, and being strong enough to defend own opinion. That is what

can be opposed to weakness and subservience. Client 2 adds that he likes when designer

endows design with something magical that make it work in clear professional way. He is

happy to concede professionalism of designer when offered design solution is really the best

one.

In the end of interview, Client 2 meditates upon his personal contribution in improvement

of relations with designer. He tells that he pushes people because he is relatively pushed by

business. He should deliver for business and put designers’ attention on the market and

product, motivate and inspire them for creativity and strength, show them strong point for

project development. On his opinion, improving relationships is about strength, responsibility,

and attitude.

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6.2.3 Analysis Case 2 is harder to analyze because neither designer nor client give appraisal to each

other. Designer 2 has many clients inside ‘Kemppi’, so she does not express her opinion

according working with concrete one and Client 2 in particular. Client 2 has many design

projects with external studios and in-house designers. In this case, he talks over his design

experience in general. Anyway, Case 2 provides facts that throw light on improvement of

relations between the graphic designer and client.

In Case 2, design acts as a communication instrument with a strong commercial purpose

− increasing of sales and production. Rules of play on welding market are very hard and

Kemppi is always challenged by competitors. In this context, fast reaction to changes,

proactive position, and innovative thinking become crucial for business development. Design

concentrates these features and directs them to customer.

On the whole, Case 2 creates an impression that designer and client are satisfied with

design process and they know their business. They both consider themselves to be

professionals that can be proved by successful projects, long working experience, high level of

responsibility, and understanding of company goals. They agree in opinion about design role

and designer’s contribution to product development.

From the first sight, the role of client can be considered as more proactive because he

states the problem and challenges the designer. However, designer’s emotional impact is more

intensive. Designer 2 should be strong enough to tolerate clients’ challenge and to change

their mind if chosen direction is wrong. Her behavior might provoke confrontations and she

should be talented diplomatist to persuade client. In this case, Designer 2 emphasizes

designer’s communication skills in order to provide clear visual communication. This tells that

she is very flexible and responsive person. Such kind of designers is highly appreciated by

Client 2.

Case 2 illustrates that both client and designer are opened to get new experiences and try

to use knowledge of each other for the benefit of project. Cooperation of two strong

personalities that clearly understand their functions and destinations leads to productive design

solutions. Although both designer and client reasons from the position of strength, there is no

dictatorship in their attitude. In spite of the fact they are both pushed by strict rules of market,

they treat each other with trust, respect, and ethics. And obviously, they expect the same

attitude from people they work with.

Client 2:

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- Hopefully, I treat designer with respect. Design is so bloody important. I do not respect laziness and

weakness, but I like ideas, prompt actions, and honesty.

- I feel that I am treated with attention and design effort.

Designer 2: - I try to treat clients as equal. They are people that order design and require result.

- Some of my clients want more attention, but they are usually grateful for my effort.

Although Designer 2 and Client 2 tell about successful relationships, they mention

different difficulties that may appear sometimes. They both tell about rounds of changes that

entail missing of deadlines. Argumentations according design concepts, terms, and conditions

also happen sometimes. However, when everything is discussed and determined process goes

on smoothly. Designer 2 and Client 2 agree that it is better to have difficult start than

disastrous result.

Among difficulties that can hardly be foreseen, Designer 2 emphasizes lack of

information or bad explanation of task. However, she mentions that within ‘Kemppi’ it

happens rarely. Client 2 attaches special importance to contract negotiations that can be hard

because client want to reduce the price and designer wants to increase it.

Designer 2 and Client 2 offer possible ways to avoid misunderstandings and to increase

quality of cooperation.

Client 2: - Strong clarification, productivity, commitment to job, openness, being strong enough to defend your

opinion, overcoming of weakness and laziness, clear design brief before the project starts…

Designer 2: - I listen and try to catch everything what client tells, even intonation and mood. When I present my

sketches I always explain what I have done and how it maintains the main idea.

- Offering alternative usually works. But alternatives should be accompanied with good explanation.

- I keep in touch with persons-in-charge to plan the projects in advance.

Designer 2 and Client 2 agree in opinion that fruitful relations do not emerge by accident.

They are formed by mutual effort of all participants of design process.

6.2.4 Results The main feature of Case 2 is that it illustrates relations of the graphic designer and client

within strict commercial structure. Both designer and a client work for the sake of their

employer’s goals. Hard competition on welding market dictates rules of playing and

challenges company all the time. For that reason, product manager and designer join their

efforts to provide new solution for the best product performance. Their cooperation aims to

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provide the whole package of materials and services that present and support product through

interaction with customer. As marketing and non-marketing materials are produced for all

subsidiaries in 12 languages, there is a constant flow of design projects. Therefore, Designer 2

and Client 2 realize importance of accurate planning and well organized work. They

emphasize fast reactions, clarity, and consistency to be important for successful result.

Foreseeing of possible impediments in design project and staying calm in complicated

situations proves their professionalism.

Case 2 has discovered the following difficulties that arise during design project. As well

as in Case 1, rounds of changes become one of the main problems. Although Designer 2 and

Client 2 accept them as a part of reality, they tell that even small amendment entail changes in

deadlines and delay production. Conflicts of opinions at preliminary stage also entail to delay

of start. At the same time, they have positive effect because they bring to light possible

impediments. As Client 2 works also with external studios, he mentions price negotiations as a

difficult part of preparatory work.

Case 2 also offers ways to improve relations between the graphic designer and client.

• Respectful attitude

• High responsibility

• Strength to change opinion or behavior

• Precise information and strong clarification

• Clear negotiation of payment

• Flexibility and fast reaction

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7. Possible ways to improve relations between the graphic

designer and a client

Previous chapters show that design process takes far more than great creativity.

Understanding and satisfying client’s needs may become a real challenge that includes many

additional routine processes. For example, quick rough sketching means detailed visualization,

fast interview with the client may take the whole day, and small brochure turns out to have

more text than can fit in a book (Foote 1996, 268). This does not mean that designers are

smart and their clients are not. The problem is that they look at one assignment from opposite

viewpoints. Designer’s world is very much oriented towards creative representation, and this

is the way it should be. For the client, design is only one part of communication and

marketing, and marketing is only one side of business (Foote 1996, 268). Chapter 7 adopts

this perspective for further argumentation. Based on theoretical findings and analysis of

practical cases, it offers practical solutions in order to improve relations between the graphic

designer and a client.

7.1 More respect Theoretical findings of my research show that disrespect spoils relationships between the

graphic designer and a client. Cases of ‘Nimedia’, ‘Satamaoperaattorit’, and ‘Kemppi’ suggest

mutual respect to be the core element in successful cooperation. For that reason, this issue is

put on the first place of practical solutions that help to find mutual understanding. All other

details are easier to deal with when there is a common respect, honesty, trust, and attention

(Browne 2003, 24; Rayle 2006).

The idea of respect has multiple ethical meaning. One of them is connected to mistaken

tendency of treating the client as a bill payer. Treating client with dictatorship is a result of

disrespect that brings no satisfaction of cooperation. Therefore, if designer wants to be

listened and be respected, she has to treat her client with the same level of respect and

sensitivity. Treating friends can be taken as a model for construction of relations

(Shaughnessy 2005, 104). Indeed, it is more difficult than just selling design services because

it demands more attention and emotional contributions. However, positive response from

client gives satisfaction of winning in the honest fight.

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The idea of treating clients as friends is adopted in both practical cases where designers

and clients deal as equals. It is much to say about designer’s effort because being pushed into

inexperienced entity client may feel confused and nervous. And this can be understood:

having already paid some money, she has no idea about result (Shaughnessy 2009, 21). In this

case, client feels fear and starts to pester designer. For that reason, it is in designer’s interests

to make equal collaboration happen. After all, great work is a witness of mutually respectful

and well-balanced designer/client relationship (Shaughnessy 2009, 20).

The idea of treating clients as friends stimulates my further research. It reveals

designer’s strengths that make clients feel secure and being sure in common respect and trust:

• No missing deadlines and being on time for appointments shows that designer

acts businesslike; he is organized and reliable (Crawford 2005, 89).

• Adequate appearance (informal manner of speaking, friendly behavior, and

appropriate style of wear) characterizes designer as a business person, not as

creative ‘something’ (Foote 1996, 269−270).

• Going over working procedures, schedules, and deadlines makes design process

methodical and controlled.

• Taking the initiative demonstrates that designer is determined and prepared for

solving the problem.

• Asking questions shows that designer is eager to get information to produce

effective work (Foote 1996, 269−281). It also helps to discover unusual

procedures and specific details of the project.

• Saying ‘Thank you’ when project has been completed is a touch of friendliness

that adds emotional and psychological contribution to working process (Foote

1996 281). Also, this is a good opportunity to continue collaboration.

Treating clients as friends does not mean servility and doing everything they say. It

looks like cheating or professional disserve when designer implicitly carries out every caprice

of the client. Client will listen to designer if they collaborate on equal terms as full-fledged

participants with mutual respect (Shaughnessy 2009, 20). Also, openness and honesty helps to

discuss difficult things easily (Crawford 2005, 92). This means establishing of rules for

professional relations where designer understands client’s needs, but asserts own

independence. Thus, setting up the standards of relations in the very beginning may become

an instrument to keep clients from interfering with good work.

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Respect also means admission of possible mistakes. Designer as well as a client is not

always right and “does not have monopoly on wisdom” (Shaughnessy 2005, 105). Also,

conviction in self-righteousness provokes distrust and doubts of designer’s or client’s

competence (Crawford 2005, 92). However, the level of high professionalism is defined not

by absence of mistakes, but by quick admission, and corrections of mistakes. Thus,

professional designer must give an answer, why the fault happened and what to do to rectify

the situation (Czulinski 2004, 31).

From client’s viewpoint, design profession has more respect when client is sure that she

addresses to the real expert. Since there are many ‘so called’ designers, it is better to check the

background of the specialist: the level of education, working experience, and response from

other clients (Giffen 2004, 25). This helps to find designer that corresponds to the

requirements of the project. In order to find a ‘good’ designer, client may check herself by

answering questions ‘ Does this person do the sort of work I want?’, ‘Is the set price

acceptable for me?’, ‘Am I on good terms with this person?’ (Shaughnessy 2005, 51).

For the client, the most important psychological issue is to have consultant that

understands what the client really wants. However, it is not about the lowest price, the greatest

aesthetic images, or the shortest schedule. It is about understanding who is the client, speaking

the same language to her, and acting as trusted advisor (Rayle 2000). Trusted advisor differs

from other just creative suppliers by:

• Understanding client’s present needs and prediction of future needs

• Help to think forward and make decisions

• Staying calm and comfort even in tough situations

• Giving reasoning and recommendations, not just conclusions

• Interest in long term result (relations are more important than current assignment

• Have interests to the client at heart

Above mentioned distinctive features belong to determined designers that are committed

to their profession and think over the boundaries of design. These professionals need only one

thing from the clients − let them do their job and trust them with the same level of openness

and honesty (Busch 2008a). Indeed, client has the final say, however, the one thing that

graphic designer knows better than all the rest is graphic design (Busch 2008a). And nothing

pushes designer to strive for the best than ethical attitude, trust, and respect. Thus, common

willingness to act according ethics is a basis for fruitful cooperation. It can change the temper

of relationships.

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7.2 Socially responsible design Theoretical findings and practical cases offer the idea of mutual respect and emphasize

social responsibilities of design. This means the needs of audience should prevail over desire

for visual experiments and personal ego of the graphic designer and a client (Nini 2004,

online). This is the step towards creating a more significant ethical model for design as

socially responsible profession. In this case, the graphic designer and a client should think

about transforming customer’s experiences for the better. This attitude means aspiration to

work out solutions that interrelate with people, environment, and ideas on the level of high

sensitivity and delicacy. (Starck 2007) Therefore, sense of social responsibility should be

included in creative process. Responsibility towards society also implies collective

consciousness, respect to the project goals, and mutual respect in designer/client relations of.

This becomes one of conditions for profitable work.

Attempt to be responsible and ethical concerns everyday behavior and decisions that

may affect many people. Individual power to act ethically and steps towards responsibility in

day-to-day relations lead to global changes (Busch 2008a). Indeed, issues about design that

change the world may seem unsophisticated. One may argue that if during two thousand years

society can not overpower prejudice, lies, and dogmas, “it is utterly ludicrous to think that one

designer can” (Burgoyne 2008). However, this does not mean responsibility should not be

taken. Even if ethical attitude does not change the globe in general, both designer and a client

should try to address a broader range of problems, incorporate new technologies, and respond

innovatively. This will turn design process to easier and more natural way.

In the world that constantly searches for new meanings and directions, ethics and social

responsibility should become a rule rather than an exception (Busch 2009). Responsibility

should be chosen as a strategy for individuals and organizations focused on long-term

objectives. Designers adopting responsible attitude as an element of their thinking are already

more strategically trained than many others (Busch 2008d). They can take a leading role in

shifting towards sustainability and global responsibility. Thus, ethical attitude can create a

new profession − socially responsible design. Also, future design can not be based on present

stereotypes and middling vision. The next part offers appropriate ways that help to overcome

stereotypes.

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7.3 Overcoming stereotypes Analysis of literature review discovers stereotyping about design and designers. Case

studies emphasize the ability of designer and client to challenge each other and look for

innovation, differentiation, and competitive advantage. This issue gives a platform for

research that aims to overcome stereotypes in design and relations between the graphic

designer and a client.

On the one hand, mental generalizations and labels are necessary to control the fast

changing world around. Stereotypes help to learn quicker, they categorize things and leave an

imprint in mind (Thoman online). On the other hand, categorizing is dangerous, especially in

design because designer’s train of thought becomes inflexible. It is harmful for designer,

client, and projects itself. In this case, the tactical role is to move one step forward. This

means not enlisting ideas making them more attractive, but generating ideas (Brown 2009a).

Design thinking also means openness to experiments, exploring new possibilities, and

aspiration for new knowledge and experience. This prevents designer from producing of

mediocrity. Thus, trying to think out ‘from the box’ helps to transform the way products,

services, processes, and meanings are performed and developed.

Overcoming stereotypes is very much concerned with ethics. Ethical behavior is possible

only when personal inner stereotypes are outdone. For example:

• Assuming the worst about people. The point is that if one seeks failure and

disappointment, finally it will be found. In this case, one should reconsider such

default behavior to assuming the best about people. It is critical for designers

that often think badly about clients. Actually, there are no bad clients. Designers

end up with the clients they deserve. (Kothary 2009, online)

• Assuming everyone as ignorant. A common stereotype of designer is assuming

that everyone understands designer’s thoughts despite the fact that she never

vocalizes them (Kothary 2009, online). People think in different way and what is

obvious to one is not obvious to another. In this case, designer should watch,

listen, and communicate appropriately. This is critical for designer.

• Thinking in absolutes. We all tend to judge about thing only in two-valued way:

all or nothing, good or bad, black or white. We do not accept compromise; we

do not like to conform. But we should learn to see the value in gradual

improvement and take opportunity of making small amends.

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• Thinking first about money. If designer wants to make money from graphic

design business, she should center in the work – not the money (Shaughnessy

2009, online). If money is put on the first place in the project, it inevitably

becomes a failure. Indeed, designers should be paid properly for their work, but

the quality, not the size of fee should become the main motive for designer. It

also concerns clients: cheep design looks cheep. Thus, good design should be

paid properly.

• Assurance that all the good jobs go to other designers. In reality, when the

project starts it does not have positive or negative value. Designer determines

the success or failure of the output (Busch 2003). Therefore, there are no good

or bad projects; there are only good or bad reactions for made order.

In the world full of rubber stamps, overcoming personal inner stereotypes and adherence

professional principles leads to respect. Moreover, aspiration and standing for ethics, morality,

and professional standards is a way to be an effective graphic designer, produce meaningful

work, and attract clients. That does not mean that designer with principles always wins.

However, this designer wins more often that one, who believes in nothing. Demonstrating

professional integrity leads to positive changes in design, related fields, and in society.

Willingness to behave ethically is a basis in profession. It needs to be supported by sufficient

knowledge, experience, and information. The next part affirms the importance of proper

information for design process.

7.4 More information Theoretical findings and case studies define lack of information as one of the main

reasons of misunderstandings between the graphic designer and client. Most

misunderstandings and unexpected results happen because assignments are not thought

precisely and important details are missed. In this case, getting information is needed to

produce work that responds both strategic and representational actual needs. Information helps

to sharpen project’s objectives and reduce the risk of unfounded concepts and disorder

creativity (Foote 1996, 270). In the context of relations between the graphic designer and a

client, the success of joint work depends on designer’s ability to ask right questions. Thus,

removing of uncertainties is less costly before starting a project than later when the product is

ready.

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Being a part of a team or working individually, designer should coordinate information

jointly. All individuals that may do contribution to project should be included in conceptual

input (Foote 1996, 271). It is better to get information not only about assignment, but also

about the client though it company or individual. Indeed, project limitations in budget and

schedule, client’s personal prejudices, considerations, and manner of working should be clear

to designer. The way of getting information depends on designer’s style of communication. It

might be formally structured interview, warm conversation, or written questioning. Whatever

method is used, there should be enough time to pick up all necessary facts (Foote 1996, 272).

Even if client does not have time for answering the questions, designer should insist on taking

all the information for qualitative implementation of the task. Persistence sets professional

designer apart from simple creative supplier.

Trying to produce ‘good’ design solution with lack of information is like trying to

choose a present for person which one has never met before. Designer even can not start

designing until she understands client’s organization and what aims to accomplish (Crawford

2005, 88). That is why, good design brief is important. Setting up an assignment questionnaire

helps to collect basic information to start design project. There are the following things

suggested to ask. For advertising design in commercial field (Foote 1996, 420−421):

• Information about a company or entrepreneur. What are history, culture, activity,

goals and perspectives, and strategy?

• Project objectives. What is the purpose of the work? What is the message and

topic of the project?

• Target audience. Who are customers? Have they already known about the

product, service? What can motivate them?

• Product or service description. What are specifications, components,

manufacture, delivery, and marketing efforts? How it is used? What is unusual or

unique in the product?

• Customer benefits. What are specific and important benefits for the user?

Benefits must be proved, only fact should be accepted, not opinions or

generalizations.

• Competition. What similar products or services are available and what are their

advantages? Concrete facts should be collected, not opinions or generalizations.

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• Creative considerations. What limitations and constrains does client have? For

example: budget, schedule, standards, personal likes and dislikes, number of

copies, use of color, paper size, etc.?

• Media considerations. How will the ad run, how brochure will be distributed,

how customer will be reached? How does the distribution affect budget, time,

and technical requirements?

• The most important point. If customer or user could choose only one thing to

remember about the product, what would it be? That is the focus of creative

concept.

Social and cultural design of non-commercial field has different questionnaire (Bennett

2006, 79):

• What is specific character of the system?

• What is the larger context of system?

• What audience is included into communication inside and outside system?

• How communication (activity, behavior, beliefs, and attitudes) may be changed

by design?

• What tools suit better to reach the communication goals? Are they adequate for

this audience?

Answering the questions, a client gives her explanation to designer at the beginning of a

project. Written design brief structures questions and answers, outlines the aims and

objectives of design project. (Grefé 2009b, 26) It manifests client’s expectations and defines a

scope of work. From the perspective of relations between the graphic designer and a client, a

thoroughly stated design brief is a critical part of design process because it helps to develop

trust and understanding in the team. Moreover, it serves as a reference that helps to check if

result corresponds to objectives mentioned in design brief. Thus, design brief is an honest way

to keep everyone honest.

Design brief is a part of empirical research that includes designer’s self-conscious

dialogue and analysis of facts. The more critical visual performance become in

communication today, the clearer message should be conveyed. Gathered information and

theory provide a strong platform for designer to look at all elements of certain problem from

external point of view that is not based only on designer’s instinct and internal considerations

(Bennett 2006, 73−79).

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Setting down a design brief, developing of theoretical research, and recording of clear

parameters for the business relationships at the outset can not poison creative process.

Moreover, designer that has clear business objectives is highly appreciated and recommended

for other projects. Thereby, signing the contract helps to eliminate surprises during project

implementation and resolve things quickly if they start to go wrong. Contract negotiations

should be concluded by making decisions about the scope of services to be provided, the risk

that both parties are willing to bear, and the base fee to be paid. Each project has some

fundamental issues that should be negotiated and agreed in the contract (Ferrini 2006):

• Basic and additional services. Agreement must indicate what services are

included in the base amount of the fee and what is included in the extra charge. If

some service is not indicated it should be paid as additional service.

• Design phases. Client should understand the scope of design. To make it clear,

design process can be divided in phases. Each stage should be explained to the

client. Written design brief helps to explain what stages are included in design

process.

• Revisions and approvals. The amount of revisions must be agreed for each phase

of design. After approval every revision is billed as an additional service.

• The construction budget. Financial goals of a client must be respected and

controlled. However, she also should be aware that designer can not guarantee

fixed price.

• Termination. If one of participants wants to end the relationship clear mechanism

of parting should be provided. The agreement must set forth notice requirements,

cure periods, and final payment terms. Agreement must include conditions for

termination.

• Ownership. If the agreement is silent, a designer has the full ownership and

copyright of all designs and documents produced for the project. To avoid

misunderstandings, a client should be informed about it.

• Dispute resolution. The agreement must include information of how disputes are

handled: mediation, arbitration, litigation, or all three?

• Limitation of liability. Relative risks and rewards must be mentioned in the

agreement. Both parties must understand and recognize the limits your of

liability.

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Negotiating contracts is a part is designer’s professional life. It is usual way to formalize

all business issues between the parties. In this context, agreements should spell out obligations

of the parties in straightforward terms and clear language. (Taute 2009, online) However, each

client is unique and speaking clear language with a client may require individual approach.

For example, communicating at level of top-managers and decision makers demands global

vision of how project may help to reach business goals and affect on people’s acts and beliefs.

As high-level audience has many things to think about besides design, massage should be

delivered briefly, but data-intensively (Taute 2009, online). Meeting with a senior leader can

not last for hours. For that reason, designer should think about essential issues in advance and

be ready to proceed to them immediately. In addition, to build effective communication with

high-level executives, designer may use business books and publications. It may help to

become familiar with their way of thinking and behavior.

Communication level of marketing people requires another approach. Even if these

people have worked with designers before, relations are not always easy. Designer should

define specific goals of a project and become sure that everyone in the team understands the

responsibilities (Taute 2009, online). For example, if marketing person stands behind

designer’s back during creative process, there should be arguments for it, not just a wish to

play with the layout. Thus, experiments with visual performance are part of designer’s job.

Searching for the methods of speaking the same language with staff-level professionals

might seem easy at first glance. As it is designer’s job to think about design, they may agree

with every offered solution because they blindly trust to designer (Taute 2009, online). In this

case, all responsibility lies on designer’s shoulders. For that reason, it could be useful to

introduce some key issues about design process. This will involve junior professionals in joint

work. Also, taking into account that staff-level professionals rarely can be decision makers,

designer should find the person that approves the project. If designer just delivers the project

without opportunity of direct presentation she should provide responsible person with

information for presentation (Taute 2009, online). This helps to avoid circles of endless

corrections and losing information in communication chain.

Getting information, asking the questions, receiving adequate answers are the ways to

find clarity inside the project team. However, there are additional techniques that add

credibility in design process.

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7.5 More clarity, credibility, and flexibility Getting information about the assignment and the client is only one of initiatives that

support design process and helps for good start. Another one is giving information. Each stage

of creative process should be clear for every participant of the project (Giffen 2004, 26). This

does not mean that client has to know the ‘backstage’ of creative process. However, nor

designer, neither client should leave until they both have a clear understanding of what

happens next (Giffen 2004, 27). A client as well as a designer needs to control the project.

Such integration stimulates client’s sense of ownership, helps to set acceptable deadlines,

preserves from rush jobs, and adds more clarity (Puleo, 2008). Therefore, it creates

comfortable long-term relationships.

Transparency is important not only for interchange of information, but also for preparing

concepts and their presentation. Approaches and languages used by designer should be clear

to her client even on the stage of rough sketches. Designer should keep in mind that what

seems perfectly clear to her may be uncertain to client. For most designers, putting effort to

artistic presentation is natural, but many clients may interpret it as emphasizing art over

communication (Foote 1996, 273). Designer may see preparing variety of concepts as

providing valid alternatives for a client choice. However, many clients may interpret this as

missing of clarity (Foote 1996, 273−274). To avoid the feeling that client has trouble

appreciation of high artistic concepts, designer should select adequate solutions that

correspond to the project goals, not to the greatest creative challenge. Thus, ability to work out

clear solutions is the main indicator of successful designer.

Creating a concept is just one step, effective representation is another one. Logical and

clear presentation is a core element in creative business because it is the only way for a client

to judge how project is going on. Moreover, presentation is the only way to catch designer’s

ideas and to keep project away from exhausting effort and endless modifications (Foote 1996,

274). To the contrary, bad presentation may ‘kill’ even a great concept. Designer that can not

sell her idea properly is not going to be very successful. After all, there is no excuse for a bad

presentation by person that is trained to communication ideas. Thus, advocacy and firmness

are put on the same level among importance characteristics of great designers.

Effective presentation never means explanation of why designer did so-and-so, used so-

and-so typeface, so-and-so color, and so-and-so composition. This depresses the client

because she just does not need this information – the result is right in front of her eyes (Foote

1996, 277). Moreover, such explanation sounds unconvincing because designer will not be

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there when customer reads the booklet, clicks the link on a web page, or looks at logo. If

design needs explanation, something is wrong. (Crawford 2005, 91) In this context, not inner

processes of design should be presented, but concepts addressed to stated client’s needs. For

that reason, designer should talk to the point while presenting ideas. It also concerns with

client while criticizing ideas.

Clear and coherent work also demands more flexibility. According client’s expectations,

designer should be opinioned and pliable. Practical cases of this research prove that client

expects an expert with strong point of view that contributes nothing less than absolute best

effort. In this case, not to lose her soul, designer should have a bit of ‘could-not-care-less’

attitude. Looking at things with more positive and easy attitude is the only way to stay in

control even with ‘difficult’ client (Crawford 2005, 94). After all, clients and designers are

tied together in one team, whether they like it or not, whether their expectations are equal or

not. This joint cooperation is not a confrontation full of threat and fear; it is a great

opportunity for them both to expand their experiences and learn from each other. This may

become one more contact point in their relations. Thus, flexibility will show the ‘right’ way

for productive cooperation.

Another significant stage that demands clarity is payment negotiation. Payment

strategies are described separately in the next part because they may evolve deep tensions.

7.6 Payment strategies Case 2 has mentioned price negotiations as one of the factors that can spoil relations

between the graphic designer and a client. Though it is a very sensitive issue, it demands

special attention. The following section presents several techniques helping to define payment

schedule and prevent barriers on the way to successful relationship.

To minimize the risk, a designer and a client should know how to protect their financial

interests (Foote 1996, 163; Stone 2006, online). There are general ways to do it: being

accurate and prepared for unexpectedness, knowing how to bill and collect. However, creative

industry has one distinctive feature that determines payment procedure: each job and each

client has unique objectives and requirements (Cohen 2002, online). What works right with

one client, may be wrong with another one. In this case, the best strategy is to personalize

payment process to every design project.

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Price and payment may become a very difficult psychological issue for designer because

she works not in financial sphere and for client because she might have no idea about design

costs. However, payment negotiation is an integral part of every business that helps to

establish professional relations because it irons any potential disagreements and impediments

beforehand. (Cronan 2005, online) For that reason, it can not be neglected and should be taken

as a part of every-day practice.

One of the ways to protect designer from working on spec and doing billable work is up-

front partial payment (Cohen 2002, online). This strategy is becoming a common procedure

within design industry. It is usually based on a percentage of the total project fee or estimate.

To make up-front payment strategy work effectively, designer should enforce it consistently,

firmly, and without apology of the clients. (Foote 1996, 167) Probably, clients may give

objections reasoned by ‘Why should I pay for work I haven’t seen yet?’, ‘We don’t have any

money right now, but are expecting a large check in soon’, or ‘Our corporate procedures

preclude me from processing any up-front payment.’ However, it is better to emphasize that

up-front payment is a reasonable to avoid the effect of extending the client’s credit and getting

payment promised only upon acceptance (Cohen 2002, online). Thus, partial up-front payment

gives the client immediate financial stake in the job.

To avoid payment delay and shorten the approval and processing time, designer should

also be familiar with the payment policy of her client (Cohen 2002, online). All financial

documents received from the client should be read carefully. For example, client may include

special conditions or descriptions that may or may not be applicable to the project and

relationship. Therefore, fully evaluation of unique needs of each client and project helps to

develop an effective payment schedule.

Payment process may include several progress payments based on a percentage of

estimated costs. It should include a due day of each payment and designer’s specific

responsibility to present completed task by concrete date. The advantage of incremental

payment is that it reduces financial liability throughout the project, even if client delays

payment. Payment may consist of following phases: the first third of the estimated costs is

paid prior to the start of the project; a second third is paid at midway of the project; and the

final third is paid when delivery is completed. Progress payment can be the same amount or

can be different amounts; the alternatives depend on requirements of certain client and project.

(Cohen 2002, online)

Even established payment agreement might not be followed through correctly. There

will be clients, who will not pay for various reasons. In this case, designer has choice − she

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may accept the failure and learn from experience, or she may ask for help through arbitration,

collection agencies, claims court, or civil court (Cohen 2002, online).

Nevertheless, payment strategies, negotiating schedule, and collecting payment should

be a flexible process. It should be adapted to requirements and needs of both designer and

client. Although payment negotiation eats a lot of time and energy, payment contract should

be worked out precisely (Stone 2006, online). Therefore, well though-out contract is one of

the guarantees of successful relations in creative business because it alleviates tension

between the graphic designer and a client and adds lucidity to their joint work.

7.7 Keeping clients coming back and getting new clients Practical cases mention staying in contact as another way to keep relations between the

graphic designer and a client. This issue gives motivation for research that discovers how to

keep clients. It goes beyond limits of existing relations and helps to establish long-term

cooperation. Indeed, good design helps clients to construct their opinion about designer and

remember her. However, as soon as project has been finished client forgets about designer

because there are many other things in business to take care (Foote 1996, 278). Thus, keeping

clients coming back becomes one more strategy to establish long perspective relations and get

new design projects.

Whether designers like it or not, most clients think of them only once or perhaps twice,

during their design process. And they might remember designer once when they have a look at

the brochure, web page, logo, or poster that she has done. No more. (Foote, 1996: 278)

Nevertheless, most likely designer’s name comes to mind when the client is looking for

specialist for certain kind of job. For the graphic designer, this means that relations with a

client are not finished at the moment when the previous project is done. For continuing

relations with new projects, designer may wait until client addresses her and uncovers new

talents. However, the better way is to be initiative because clients may not know all designer

can do (Foote 1996, 278). Therefore, this strategy is good business stimulation that helps not

only keep old clients, but find new ones.

There are several ways to make clients remember designer (Foote 1996, 279):

• Asking for reference. Reference may become a good feedback from client and

foundation for further business. Positive response is useful in working with new

clients.

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• Staying in contact. When project is completed, staying in contact may support

relations with a client. It might be e-mails, greetings, showing of work samples

for other clients.

• Looking out for ways to mention designer’s versatility. Assignments are not

equal; designer can show different expertise from her practice.

• Asking for more business. Straight question about new assignment clears up

when and what kind of design client needs next time.

For keeping clients, getting new ones, and staying in good relations with them, designer

should also think about marketing and self promotion. No matter how successful designer is,

effective marketing can bring more clients, bigger assignments, more profit, and greater

satisfaction (Sheldon 2008, 68). Unfortunately, this strategy may have a low priority in

everyday haste that eats most of time and prevents of thinking about future plans. Also, the

world has abundance of good graphic artists, who have no profit from their talent only

because they do not pay enough attention at marketing themselves (Bowen 2004). For that

reason, designer should always keep in mind that success depends not on what she does, but

on how it is marketed and promoted.

For successful development, designer should know her specific strengths in terms of

services, creativity, and value. Probably, even the best clients will not tell directly about

designer’s strengths and weaknesses if they are not asked (Bowen, 2004). In this case, the best

way to get constructive information and recommendation is to ask. Client’s survey is one of

effective and cheap marketing tools that provide certain feedback about issues designer wants

to know: price, quality of services, capabilities, and client’s attitude (Bowen 2004).

The main issue is to decide what designer most wants to learn and to develop by

constructive and structured questionnaire. This is a good foundation to get structured answers

for further analysis. Constructive findings of survey may help to identify the weaknesses and

develop plan for correcting them (Bowen 2004). Moreover, it may become an effective

instrument for extension of services and making a good marketing message. Also, client’s

survey is an investment in keeping a good working relationship (Bowen 2004). Therefore, it

provides new insight, and it is the fastest and most economical way to build a successful

cooperation.

Client’s survey may become a good motivation for changes. It may identify the areas

where designer is the best in and the areas that are not significant for business development.

Questioning evaluates designer through client’s eyes, who actually does not buy creativity, but

solutions for business problems. The understanding of individual strengths is critical because

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it builds confidence in personal abilities that provide initial level of success (Foote 1996, 197).

However, survey findings may also bring to light that designer is doing not exactly she enjoys

and wants to do. The analysis of collected data may become a good motivation to change the

business (Foote 1996, 198). In addition, by making survey, designer reveals business initiative

and selling skills that are more important in getting and keeping the clients than creative talent

and design experience.

Recognizing of personal strengths and matching them to the client’s needs becomes a

basis of sales strategy that should be easy and effective (Foote 1996, 218). Designer should be

realistic in what she can offer to the client; only true differentiate ideas should be taken on

marketing. Having identified individual distinctive features, designer should choose ways to

get clients and assignments: referrals based on reputation and direct promotion.

Referrals are the best way to enlarge established reputation among acquaintances.

Designer may ask to personal friends, suppliers, former employers, other noncompetitive

designers, illustrators, and photographers to share the list of contacts (Foote 1996, 220−222).

This list can be used to the announcement letter or occasional reminder letters. For this

mailing no response is appropriate, but promotional effort is significant. In addition, joining

professional clubs, award competitions, and design campaigns may provide more visibility

and the potential of new contacts (Crawford 2005, 49−50). Volunteering for associations and

participating in activities outside from creative community may also become a source of the

contacts. Thus, keeping eyes opened helps designer to develop productive and favorable

working relations either now or later.

Besides increasing the referrals and building a network, direct sales effort is another way

to control the amount and type of business. Direct promotion aims to make designer’s talents

known to the right potential clients, in the right manner, and at the right time. Proper way of

communicating with a client is the key to success. There are several practical means that

designer may choose (Crawford 2005, 50−57; Foote 1996, 223−226; Sheldon 2008, 73−76):

• Cold calling. Designer has opportunity to show portfolio to perspective client

without setting up an appointment. Cold calling are effective only at small

companies with relaxed environment. In major organizations cold calling is

discouraging and terribly inefficient.

• Telemarketing. Equivalent of cold calling for making contacts by telephone. It

takes little preparation, has low cost, takes little time in comparison with cold

calling. Telemarketing may be considered as interruption, which puts designer at

disadvantage.

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• Letters. This is universally appropriate way to contact present clients, but not

very serious way to impact new clients. Letters are fast to prepare and

inexpensive. Personally addressed, they leave strong positive statement about

designer.

• Direct mail. Personally contained mailing means independent effort whether it

works or not. Effectiveness of direct mailing depends on what mailing list is

used. Well made mailing to the right people demonstrates a high degree of

communications sophistication and creates immediate impact.

• Advertising. It is not primary promotional method that costs expensively and

may have not very effective result. The payoff for advertising creative services is

long-term, not immediate.

• Internet marketing. The effect from promoting design services through personal

web page is minimal. But it is a good opportunity for the clients to check how

designer’s business is going on and whom designer is doing business. Web page

can be used as a digital portfolio that is easy to access to look at work samples.

• Blogging. Designer’s blog is a marketing message written in everyday friendly

language that shows designer’s style of personal and professional

communications and helps to stand out from the crowd. Blog can be used as

indirect marketing tool that conveys designer’s sensibility.

Graphic designer’s self marketing is an integral part of design business to stay visible for

past clients and for seeking new prospects (Sheldon 2008, 76). Marketing is important for

short-term goals to get business by sales efforts and for long-term objectives to become

known for getting better assignments easier. For being competitive and for moving to a higher

level, designer should not slow down after meeting short-term goals. (Foote 1996, 226−227)

Moreover, in present environment where priorities shift, people move, memories fade, only

continuous contact keeps designer in business.

Understanding of personal strengths, turning them to a differentiate idea, developing of a

consistent sales strategy, and choosing the right methods of marketing help designer not only

to get new assignments, but to extend individual expertise for establishing of profitable,

trusting, and respectful relations with the client. Nevertheless, months or years may pass

before clients come. However, when they come they will know exactly why this particular

designer is the best for them.

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7.8 Adaptation and compromise As any other kind of business, creative business requires adaptation to existing

conditions. This aspect is just outlined in practical cases. However, this does not make it less

important. In many respects, social responsibility and the role of problem solver puts designer

in the clients’ shoes and requires communicating with them in a way they are interested in. It

requires taking sincere interest in what clients want and balanced combination and of separate

knowledge, emotional contribution, and creative experiments (Fehr 2009). Therefore, each

project requires a sort of compromise. Besides, high competition forces designer to adapt her

personal preferences to public needs. Thus, adaptation is another designer’s strategy to keep

comfortable relations with a client.

Designer’s complains about client’s demands, budgets, and deadlines. However, in

every industry one can find something to complain to and it should not keep designer from

doing a good work. After all, high demands lead to great design solutions for communicating

ideas. (Warburton 2005) Accordingly, designer should understand that the final product is not

only designer’s offspring – photographers, illustrators, copywriters, and editors may

participate in work. Also, client’s inestimable input can not be ignored. No less as designers

they love the end result. Thus, for successful cooperation, it is in the interests of designer to

stop moaning and groaning and to find compromise.

Instead of complaining on clients and educating them, designer should rethink personal

attitude and probably change style of working (Shaughnessy, 2009: 19). Such pragmatic

method shows distinctly that design is not for pleasing yourself. Certainly, most designers like

what they do; it is not a bad thing. But the sense of pleasing yourself at the expense of client is

a reason of countless conflicts and relationship meltdowns (Shaughnessy, 2009: 20).

Therefore, designer should find a balance to combine own satisfaction and client’s

satisfaction. As each new client evolves new challenges, adaptation and searching for

compromise never ends. Learning how to deal with particular client gives experience and

professional growth.

Client’s attitude to designer should also be reconsidered because designer is not a middle

person or expensive layer in complex business structure (Giffen 2004, 27). Designer helps to

navigate through client’s needs. For example, clients may say that she needs a brochure, but

after consultation with designer client realizes that she needs a direct mail and e-mail

campaign. This means that designer helps to figure out marketing needs, rather than just

design needs. In this context, design becomes one more significant tool in business and brand

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strategy. Therefore, compromise due to collective conscience is one of preconditions of

success for both graphic designer and a client.

Though compromise is a fact of life, it might be a troublesome topic in person’s

individualistic culture (FitzGerald 2007, online). In this context, the necessity to compromise,

adapt to circumstances makes design difficult to practice (Green 2005, online). However,

compromise concerns the graphic designer, client, and every stage of relations between them.

Thus, it can be adopted as a guiding principle to make relations between the graphic designer

and a client easier.

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Conclusion

Successful design solution does not appear itself. It is a result of effective relations

between people who create it. That is why this research underlines the importance of personal

attitude of design process participants. This attitude should be based on honesty, openness,

trust, and responsibility. Also, it combines knowledge, desire for learning and improvement,

talent, high creativity, enthusiasm, and energy.

This research emphasizes graphic designer’s proactive position based on clear

understanding of her social role. Graphic designer is a creator of visual communication that

shapes personal opinion and influences on mass behavior. By creating design projects,

designer builds up modern society and trends of its future development. This means designer

takes responsibility of success or failure of design. Therefore, it is the designer should try to

establish a relationship of mutual respect with a client.

This research shows client as equal in rights participant of design process and expert in

her industry. This means client has a significant level of responsibility of design project. The

clearer goal she states the better result designer distributes within provided constraints. Also, it

is a client’s choice to accept or reject designer’s solution. Thus, client should remember about

her belonging to design.

In this work, the goals of the graphic designer and a client intersect – they focus on

producing of effective design solution. In this case, positive relationships and mutual

understanding are critical for them. Therefore, my research takes a look inside design process

and its practicalities and discovers reasons of disorder in designer/client cooperation. This

study concludes with guidelines for graphic designers and for their clients that help to avoid

mistakes in joint design process, find mutual understanding, improve their professional

relations, and produce better design solution.

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Appendicies

Appendix 1. Interview questionnaire for the client.

Tell about yourself

1. Information about field where you work

2. What is the role of design in company or field of activity you work in? What is the

need in design? (is it communication, marketing strategy that makes people act, or

instrument to make thing aesthetically pleasant and attractive)

3. What is your position in business hierarchy (owner of business, top manager,

department manager, staff level professional)

4. Why your position is related with working with designer?

5. What is your role in design process?

6. Please describe your feeling during joint work with designer (empathy, risk of

receiving unexpected result, desire to get result as soon as possible)

7. Are you the only person who works with designer? (If no, what are the other members

of working team?)

What designers do you work with?

1. What are the projects that you order to graphic designer? (Brochure, logo, web-site,

poster…)

2. Do you work with in-house designers, with free-lancers, or with design-studios?

For those who have in-house designer:

Why is it important to have in-house designer?

What projects you order to in-house designer and what to outside studio? Why?

3. What are the differences for you as a client in working with individual designer and

with studio?

4. Do you address new projects to new designer (or studio) or you work constantly with

one designer (or studio)? Why?

5. What is the difference between those, who worked with you before and who work with

you for the first time?

6. What is designer’s role in design process? (Is designer mediator of your ideas or

producer of ideas?)

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7. What is your attitude to designer?

8. How do you think what is designer’s attitude to you as client? (as dictator, as equal, as

follower of his/her ideas)

What are relations between graphic designer and the client?

1. What are the most common difficulties that you have faced in working with designer? • Does designer always understand what you need?

• Do you get what you expect to get from designer?

• Confrontations according concepts

• Rounds of changes in visual representations

• Unexpected results

• Missing of deadlines

2. Do problems appear at the beginning of process, in the middle stages, or in the end?

3. What are the reasons of misunderstanding between you and designer? • Lack of responsibility and unethical behavior (designer’s personal preferences against product purpose)

• Bad design brief (lack of information)

• Misunderstandings in contract negotiations

• Clarity is missing

• The trouble with technology

4. Please, describe your best and worst experience in working with designer (or studio)?

(example)

How relations with designer can be improved?

1. What helps you in relations with designer? • More respect

• Précised design brief

• More information

• More clarity, credibility, and flexibility

• More personal contact

• Compromise and adaptation

2. How do you manage to find compromise with designer?

3. What motivates you to address certain designer again?

4. What can you do to improve relations with designer?

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Appendix 2. Interview questionnaire for the graphic designer.

Tell about yourself

1. What is your education in design?

2. What is your working experience in design?

3. Information about where you work now (design company, design department at big

corporation, freelance, own design studio) the role of design at your company.

4. What are your career plans?

Who are you as a designer?

1. Why did you choose design as profession? What makes you a designer? • Is it a communication tool between producer and consumer? • Is it a way for designer’s self expression? • Is a tool to sale the product better?

2. What are your responsibilities as designer at the company? (performer, mediator

between client and customer, producer yourself )

3. What does differ you as a designer from decorator? (Creativity, non-standard view,

strategic thinking, innovative thinking, sense of commercial purpose, ability to

anticipate public expectations, long-term humanistic purpose)

4. What is your personal contribution to design project? Please describe your feeling

while you are creating? (empathy, inner dialogue, risk of receiving unexpected result,

intuition, inner belief to do things better)

5. Please describe how do you find compromise between your ideas and project goals and

requirements. (example)

6. What additional skills besides design skills do use in your work? (communication

skills, team working skills, scientific approach, )

7. What important skills for design have you obtained at your working place, not at

educational institution? (public speaking, communication, team working, good

presentation)

8. What are the differences between these skills?

9. What is the role of educational institution in growing up young designers? • Is it important to have a degree in design?

What are your clients?

1. Do you work for private individuals or companies?

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2. What are the differences for you as a designer in working with individuals and

companies?

3. Do your clients have experience in working with designers before?

4. What are the difference between those, who worked with you and first time clients?

5. Did you have situations in your design practice when client treated you as dictator, as

equal, as producer?

6. What is your attitude to the client? (do you treat your client as a friend or patient)

What are relations between graphic designer and the client?

1. What are the most common difficulties that you have faced with the client? • Do you always understand what client needs? • Confrontations according concepts • Rounds of changes in visual representations • Unexpected results • Missing of deadlines

2. Do problems appear at the beginning of process, in the middle stages, or in the end?

3. What are the reasons of misunderstanding between you and the client? • Lack of responsibility and unethical behavior (client’s personal preferences against product purpose) • Bad design brief • Misunderstandings in contract negotiations • Clarity is missing • The trouble with technology

How relations with the client can be improved?

1. What helps you in relations with the client? • More respect • Précised design brief • More information • More clarity, credibility, and flexibility • Promotion and marketing for keeping the clients • Compromise and adaptation

2. How do you manage to find compromise?

3. What helps you to keep clients back?

4. What can you do to improve relations with the client?